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The  Poetic  Element  in  the  Satires 
and  Epistles  of  Horace 


PART     I 


BY 

PHILIP   HOWARD   EDWARDS 


^  SDi08(crtatiou 

SUBMITTED  TO   THE  BOARD   OF  UNIVERSITY   STUDIES  OF  THE  JOHXS  HOPKINS 

UNI\T;RSITY   in   conformity   with    the    REQUIREMENTS    FOB 

THE  DEGREE  OF   DOCTOR   OF   PHILOSOPHY 


1905 

5.  5K.  Ifutst  Company 

BALTIMORE 


CONTENTS. 


PAGE. 

Introduction 5-17 

Previous  views. — Testimony  of  Horace  and  its  literal  acceptation. 
— This  testimony  probably  influenced  by  temperament  and  environ- 
ment.— The  nature  of  the  poetic  touch  in  Horace. 

Real  Poetry 18-27 

Poetic  touch  to  strengtlien  the  tone  of  genial  pleasantry. — Nature 
descriptions.— Poetic  similes  and  metaphors.— Passages  suggesting 
the  pastoral  note. — Laudatory  passages. — Passages  reflecting  philo- 
sophic earnestness. — The  emotional  element. — Passages  in  praise 
of  wine. 

Parody 27-34 

Its  nature  in  Horace. — Related  passages  where  the  contrast  between 
the  elevated  and  the  conversational  is  prominent. 

Elevated  Passages 35-36 

Poetic  Reminiscence 36-45 

The  Iliad. — The  Odyssey.— Epic  phraseology. — Hesiod. — Mimner- 
mus.  —  Simonides.—  Thcognis.—  Pindar. — Sophocles. — Euripides. 
— Theocritus.  — Callimachus.  — Ennius.  — Catullus.  — Lucretius. 


iij;j4h^ 


^^ 


THE   POETIC   ELEMENT   IN   THE   SATIRES 
AND   EPISTLES   OF   HORACE. 


INTRODUCTION. 


The  poetic  element  in  the  satires  and  epistles  of  Horace  seems 
never  to  have  been  made  the  subject  of  thorough  investigation. 
Owing  to  several  passages  in  the  satires  and  epistles  themselves, 
the  greatest  unanimity  has  always  existed  upon  one  point  in  their 
interpretation  ;  viz.,  their  essentially  prosaic  character.     It  would 
appear  that  from  the  very  beginning  this  conception   has  held 
almost  unquestioned  sway  over  the  minds  of  critics  and  authori- 
ties.    It  is  not  altogether  unnatural  that  this  should  be  the  case, 
nor  is  the  position  in  itself  a  false  one.     On  the  contrary,  in  the 
many  perplexing  questions  which  face  us  in  the  classical  field,  it 
is  refreshing  to  have  the  author's  repeated  reference  to  the  subject 
under  discussion.     In  the  present  instance,  however,  I  am  con- 
vinced that  the  author's  self-directed  and  apparently  frank  criticism 
has  had  the  effect  of  obscuring  certain  other  elements  of  his  style, 
equally  operative,   though   of  less   extensive  application.     It  is 
difficult  to  understand  why  this  is  the  case.     One  would  suppose 
that  the  very  fact  that  a  norm  of  style  has  been  established  by  the 
author's  own  words  would  direct  especial  attention  to  the  abnormal, 
and  prompt  an  investigation  along  that  line. 

To  be  sure  the  editions  occasionally  note  an  elevated  or  poetic 
passage,  for  the  most  part  in  instances  where  it  would  be  scarcely 
possible  to  ignore  the  change  of  tone.  But  scant  reference  has 
crept  into  the  introductions,  where  few  have  had  the  courage  in 
the  face  of  such  clean-cut  expressions  as  musa  pedestris,  and  jjer 
humum  repens,  to  give  the  matter  the  benefit  of  distinct  treatment. 
Lucian  I^Iuellcr,  Introduction,  p.  xiii,  is  an  exception  sufficiently 
notable  to  be  quoted:  Zwar  iibertrcibt  Horaz,  wenn  er  {Sat.  1, 


6  The  Poetic  Element  in  the 

56  fgdd.)  behauptet,  dass  ohne  das  Metrum  seine  wie  des  Lucilius 
Dichtuuffen  wie  Prosa  erscheiuen  wiirden.  Es  findeu  sich  bei 
ihm  selbst  und  noch  ofter,  soweit  man  nach  den  Fragmenten 
urtheilen  kann,  bei  seinem  Vorbilde  Verse  hSheren  Schwunges, 
wie  ja  auch  die  Erscheiuungen  des  Lebens  sich  nieht  ausschliess- 
lich  inuerhalb  hausbackener  Prosa  und  niicbterner  Alltiiglichkeit 
bewegen.     These  are  the  most  relevant  words  I  have  been  able  to 

find  in  the  editions. 

Next  in  importance  seems  the  observation  of  Nitsch,  Introduc- 
tion to  the  Satires,  vol.  2,  p.  332.  Die  Sprache,  welche  Horaz  in 
diesen  Gedichten  redet,  nahert  sich  allerdings  der  Prosa,  wenn 
wir  es  ihm  schon  darum  nicht  auf  sein  Wort  glauben  diirfen,  dasz 
er  um  dieser  Gedichte  willen,  alien  Anspruch  auf  den  Rang  eiues 
Dichters  entsagt. 

Kiessling,  Introduction  to  the  Satires,  p.  xvii,  in  discussing  Sat. 
1,  4,  39  ff.,  the  most  significant  passage  in  the  sermones,  expresses 
the  prevalent  view,  merging  quite  indiscriminately  the  departments 
of  satire  and  comedy  as  the  twin  objects  of  the  author's  criticism. 
His  conclusions  may  be  taken  as  representative  of  contemporary 
opinion ;  viz.,  that  there  is  little  or  nothing  of  the  poetic  in  the 
satires  of  Horace. 

The  above  must  serve  as  the  most  detailed  remarks  to  be  foimd 
in  the  authorities  upon  a  side  of  Horatian  style  certainly  deserv- 
ing more  careful  investigation. 

First,  then,  let  us  examine  the  passages  referred  to  above.  The 
most  important  is  Sat.  1,  4,  38  fP.  : 

agedum,  pauca  accipe  contra, 
primum  ego  me  illorum,  dederim  quibus  esse  poetis, 
excerpam  uumero :  ncque  enim  concludere  versum  40 

dixeris  esse  satis ;  neque  siqui  scribat  uti  nos 
sermoni  propiora,  putes  hunc  esse  poetam. 
ingenium  cui  sit,  cui  mens  divinior  atque  os 
magna  sonaturum,  des  nominis  huius  honorem. 
idcirco  quidam  comoedia  necne  poema  45 

esset  quaesivere,  quod  acer  spiritus  ac  vis 
nee  verbis  nee  rebus  inest,  nisi  quod  pede  certo 
difFert  sermoni,  sermo  merus. 


Satires  and  Epistles  of  Horace.  7 

Compare  vs.  41,  where  Horace  refers  to  his  own  composition, 
with  vss.  45  ff.,  which  concern  comedy.  The  former  is  a  guarded 
statement,  the  latter  is  a  free  and  unrestrained  expression  of 
opinion,  where  the  directness  of  the  language  is  as  evident  as  the 
conviction  of  the  author.  I  do  not  wish  to  press  this  point  too 
fa^,  but  in  siqui  scrihat  uti  nos  sermoni  propiora  there  is  to  my 
mind  a  strong  suggestion  of  modest  understatement.  The  words 
nisi  quod  pede  certo  differt  sermoni,  sermo  merus  are  occasionally 
cited  by  the  editors  as  if  they  had  direct  reference  to  the  satires ; 
e.  g.,  Wickham,  on  Sat.  2,  6,  17.  I  believe  such  inference  is 
entirely  unwarranted. 

But   Horace   has    something    more   to    say.     After    citing   an 
example  from  comedy  he  continues,  vs.  56  if.  : 

his,  ego  quae  nunc, 
olim  quae  scripsit  Lucilius,  eripias  si 
tempore  certa  modosque  et  quod  prius  ordine  verbumst 
posterius  facias,  praeponens  ultima  primis, 
non,  ut  si  solvas  '  postquam  Discordia  taetra 
Belli  ferratos  postis  portasque  refregit,' 
iuvenias  etiam  disiecti  membra  poetae. 

In  these  lines  we  have  that  to  which  the  whole  passage  has  been 
tending:  viz.,  a  return  to  the  criticism  of  Lucilius  which  he  had 
begun  in  the  opening  of  the  satire.  There  is  reason  for  believing 
that  Horace  has  here  employed  the  well-known  device  of  includ- 
ing himself  in  a  criticism  whose  arraignment  is  principally  intended 
for  another.  It  is  well  known  how  far-reaching  was  the  influence 
of  Lucilius,  not  only  in  his  own  time,  but  through  the  first  century 
A.  D.  It  is  probable,  therefore,  that  as  early  as  this  fourth  satire 
Horace  foresaw  that  his  severe  handling  of  Lucilius  would  not  go 
unchallenged,  though  he  was  perhaps  not  prepared  for  the  storm 
of  protest  which  required  his  lengthy  defense  in  the  tenth  satire. 
In  this  connection  it  is  interesting  to  mark  the  striking  difter- 
ence  of  tone  in  the  first  satire  of  the  second  book,  where  the 
early  discussion  is  throughout  ignored,  and  where  every  reference 
to  Lucilius  is  laudatory;   cf.  vss.  16  f.,  vss.  28  f.,  and  a  longer 


8  The  Poetic  Element  in  the 

one,  vss.  62-75.  We  cannot  bnt  feel  that  in  this  later  reference 
to  Lucilius  we  observe  the  truer  and  more  general  attitude  of 
Horace  toward  the  man  who  was  in  so  many  senses  his  model. 
But  we  must  not  forget  that  while  Lucilius  was  the  closest  model 
he  was  also  the  closest  rival  in  the  department  of  satire,  and  that 
Horace,  though  disinclined  to  contest  the  honors  of  a  great  pioneer 
in  a  comparatively  new  branch  of  literature,^  justly  contends  for 
the  limitations  which  that  unfamiliarity  entailed. 

However  that  may  be,  there  is  a  probable  concession  to  the 
popularity  of  Lucilius  in  whatever  criticism  appears  in  Horace. 
In  the  fourth  satire  that  concession  consists  in  including  himself 
in  the  same  category  as  Lucilius,  and  this  fact  is  not  without  its 
bearing  upon  vss.  41  ff.,  and  56  if. 

Let  us  now  consider  another  passage.  Sat.  2,  6,  17  : 

ergo  ubi  me  in  montis  et  in  arcem  ex  urbe  removi, 
quid  prius  inlustrem  saturis  musaque  pedestri  ? 

These  lines  are  in  setting  and  expression  playful.  Here  the 
proportion  of  modest  understatement  must  carefully  be  weighed, 
asalsoin^j3p.  2,  1,  250ff.: 

nee  sermones  ego  mallem 
repentis  per  humum  quam  res  conponere  gestas, 
terrarumque  situs  et  flumina  dicere  et  arcis 
montibus  inpositas  et  barbara  regna  tuisque 

auspiciis  totum  confecta  duella  per  orbem 

claustraque  custodem  pacis  cohibentia  lauum 

et  formidatum  Parthis  te  principe  Romam, 

si  quantum  cuperem  possem  quoque ;  sed  neque  parvum 

carmen  maiestas  recipit  tua  nee  mens  audet 

rem  temptare  pudor  quam  vires  ferre  recusent. 

sedulitas  autem  stulte  quem  diligit  urguet, 

praecipue  cum  se  numeris  commendat  et  arte. 

The  apologetic  tone  is   frequent  in   Horace  and   is  found  in 

»&«.  1,  10,  48f., 

neque  ego  illi  detraliere  ausim 

haerentem  capiti  cum  multa  laude  coronam. 


Satir&i  and  Epistles  of  Horace.  •  9 

every  departnient  of  his  work.  The  .subjects  he  here  disclaims  as 
beyond  the  flight  of  his  muse  correspond  remarkably  with  those 
treated  in  certain  of  his  odes  written  in  honor  of  royalty,  espe- 
cially those  of  the  fourth  book;  see  Odes  4,  5,  14  and  15. 
Compare  especially  Sat.  2,  1,  10  if.,  where  Trebatius  advises 
Horace  to  do  the  very  thing  he  here  disclaims ;  that  is,  to  write 
epic.  Horace  refuses  on  the  same  ground,  his  inability,  adding 
two  or  three  lines  of  genuine  epic  to  prove  his  assertion  ;  cf.  vss. 
13  if.  In  the  same  vein  cf.  Od.  1,  G,  5  fP.,  Od.  4,  2,  27  fP.,  and 
Od.  4,  15,  1  if.,  wdiere  again  we  find  the  accompanying  epic 
touches.     Cf.  also  Od.  1,  19,  10  ;  Od.  2,  12,  1  ff. 

In  this  connection  A.  P.  304  ff.  is  an  interesting  passage,  and 
something    of  a    stumbling-block   judging    from    the    variety   of 

interpretations  : 

ergo  fungar  vice  cotis,  acutum 

reddere  quae  ferrum  valet,  exsors  ipsa  secandi : 

munus  et  officium,  nil  scribens  ipse,  docebo, 

unde  parentur  opes,  quid  alat  formetque  poetam, 

quid  deceat,  quid  non,  quo  virtus,  quo  ferat  error. 

• 

Miiller  quite  arbitrarily  understands  nil  scribens  of  tragedy,  on 
the  ground  that  the  honored  lyrist  could  not  exclude  himself  from 
the  general  category  of  poets.  Orelli  extends  the  scope  of  the 
words  and  interprets  nidlum  poema  epicum  aid  dramaticum,  sed 
sermones  dumtaxat  et  lyrica  quaedam,  adding  inest  tamen  festiva 
ironia,  qua  py'opria  carmina  elevat.  This  tone  of  festiva  ironia  is 
self-evident,  uotwathstanding  the  fact  that  this  passage  marks  the 
transition  to  the  most  serious  discussion  of  the  poem,  and  that 
the  remainder  of  the  passage  itself  outlines  that  discussion.  I 
can  see,  however,  no  compelling  reason  for  supposing  that  the 
words  nil  scribens  are  to  be  understood  solely  of  tragic  or  epic 
style.  In  consideration  of  the  well-known  habit  of  the  poet  as 
illustrated  in  the  examples  cited  above,  it  would  be  better  to  see 
in  these  words  a  reference  to  poetry  in  general.  If  we  so  inter- 
pret, it  is  interesting  to  compare  the  three  places  in  which  Horace 
characterizes  the  style  of  the  satires,  in  as  much  as  this  passage 
was  written  several  years  after  the  publication  of  the  first  three 
books  of  the  odes,  which  none  will  deny  to  be  poetic. 


10  The  Poetic  Element  in  the 

Now  let  us  turn  from  these  passages  to  the  consideration  of 
another  question.  Horace  shows  an  aifectionate  preference  for 
the  style  of  coraposition  he  adopted  in  the  satires  and  epistles. 
The  very  unrestraint  which  had  always  been  a  characteristic 
feature  of  this  branch  of  literature  would  in  itself  appeal  force- 
fully to  such  a  temperament.  Assuredly,  therefore,  there  is  nothing 
illogical  in  the  supposition  that  undoubted  poetic  genius  coupled 
with  such  inviting  departmental  freedom  might  give  rise,  nay, 
under  favoring  conditions  would  be  almost  certain  to  give  rise,  to 
elevated  and  poetic  types  of  thought  and  expression.  The  collec- 
tion and  examination  of  examples  to  be  cited  later  attest  that 
these  types  are  particularly  to  be  expected  under  certain  motives 
and  in  connection  with  certain  objects  which  exerted  a  peculiarly 
strong  and  lasting  influence  upon  the  poet's  life.  In  these  passages 
are  reflected  his  love  of  nature,  the  relations  of  friendship  and 
intimacy  he  bore  to  powerful  men  of  his  day,  the  influence  of 
fellow  poets  both  personal  and  literary,  social  cultivation,  his  love 
of  the  country  frequently  intensified  by  the  pride  of  ownership. 
Often,  too,  the  warmth  of  philosophic  discussion  elevates  the  style 
into  the  sphere  of  poetry. 

To  deny  the  great  mass  of  the  conversational  element  apparent 
in  the  usage  of  every  part  of  speech  in  the  sermones  would  be 
futile.^ 

This  phase  of  the  subject  has  received  much  attention  in  the 
editions. 

As  regards  meter,  Ribbeck,  Geschichte  der  romischen  Dichtung, 
II,  p.  160,  observes,  "With  great  but  concealed  art  every  eifort  is 
made  to  give  the  verse  the  stamp  of  the  prose  style,  without,  how- 
ever, transgressing  the  laws  of  euphony  and  rhythm.  In  the  first 
place,  all  those  metrical  forms  which  are  peculiar  to  poetry  are 
avoided  if  possible.  Such  caesurae,  therefore,  are  proportionately 
more  employed  which  strike  the  ear  with  the  natural  (Trochaic) 
cadence  of  the  Latin  language.     Frequent   spondees  render  the 

^  An  interesting  collection  and  classification  of  examples  is  found  in  the  treatise 
of  F.  Barta,  Sprachliche  Studien  zu  den  Satiren  def:  Horaz,  ii  Theil.  Program,  Linz, 
1881.  See  for  instance  bis  chapters  entitled  Umgangsformdn,  p.  23  ;  Syncopierie 
Fai-men,  p.  29. 


Satires  and  Epistles  of  Horace.  11 

expression  more  unrestrained,  give  it  a  cliaracter  for  careless  ease, 
and  everywhere  the  most  elegant  care  is  manifest  for  effecting  the 
artistic  agreement  and  unity  of  contents  and  cadence.  Elision 
of  vowels,  shunning  evidence  of  scrupulous  choice,  is  employed 
abundantly,  as  in  the  spoken  language."  Sellar,  Horace  and  the 
Elegiac  Poets,  p.  51,  speaks  as  follows:  "Had  Horace  lived  in 
recent  times  he  would  probably  have  been  as  accomplished  a 
writer  of  prose  as  of  verse.  The  subjects  of  his  satires  are 
essentially  prosaic.  They  deal  with  the  material  of  daily  life  in 
a  style  as  nearly  as  possible  approaching  to  the  language  of 
familiar  conversation."  ^ 

The  above  are  brief  representative  views  of  a  well-nigh  inex- 
haustible mass  of  criticism  bearing  upon  the  satires,  all  emphasizing 
the  view  that  their  subject  matter  is  essentially  prosaic,  their 
treatment  correspondingly  unimaginative ;  in  fact,  only  modified 
by  the  necessary  laws  of  versification. 

Now  it  is  no  part  of  my  intention  to  combat  the  underlying 
truth  of  current  criticism  upon  this  subject ;  viz.,  that  Horace  has 
made  large  use  of  the  conversational  sphere.  This  goes  without 
saying.  But  one  or  two  things  must  be  borne  in  mind ;  first,  in 
accordance  with  the  line  of  argument  above  advanced,  the  passages 
professing  to  establish  Horace's  own  opinion  must  not  be  called 
upon  to  extend  and  distort  this  characteristic  of  style  until  it 
become  a  fabric  completely  obscuring  the  real  nature  of  his  art. 
For  these  passages  considered  in  the  proper  light  and  in  their 
proper  setting  strongly  suggest  that  Horace  is  conscious,  and  feels 
the  restraint  of  that  consciousness,  that  the  sermoni  propiora  are 
not  always  remote  from  other  spheres,  and  that  pedestris  and  per 
Jiumum  repens  are  not  full  and  satisfactory  epithets  for  his  muse. 

I  am  aware  that  this  interpretation  of  the  references  cited  from 
the  sermones  is  not  in  accord  with  the  persistent  tradition  regard- 
ing them.  But  it  should  be  remembered  that  literary  criticism 
need  not  be  true  to  be  enduring.  Alexander  Pope  furnishes  a 
striking  example  in  English  poetry.  The  revolution  of  the 
Romanticists  is  the   verdict  handed  down   and   accepted  to  the 

» Cf.  Wickham,  vol.  ii,  p.  7. 


12  The  Poetic  Element  in  the 

present  day.  It  would  appear  that  this  reactionary  movement 
in  setting  the  mold  for  modern  poetic  art  has  given,  if  it  has  not 
established  for  all  time,  the  form  which  criticism  must  take  in 
respect  to  Pope ;  viz.,  certain  stereotyped  comparisons,  first  with 
his  great  predecessor  Dryden,  later  with  the  foremost  champions 
of  the  Romantic  School.  The  result  was  as  predestined  as  the 
judgment  of  Paris.  An  age  of  new  and  reactionaiy  ideals  has 
from  its  own  point  of  view  passed  a  judgment  which,  if  reduced 
to  merest  outline,  would  read  "Pope  was  not  Dryden,"  or,  "Pope 
was  not  Wordsworth."  It  is  significant  that  even  to  the  present 
day  Pope  is  not  discussed  upon  his  owu  merits.  Plis  unique 
position  in  literature  could  of  course  at  no  time  be  overlooked,  but 
the  mass  of  adverse  comparison  has  made  this  concession  an  ele- 
ment of  "faint  praise"  in  the  final  effect.  A  curious  phase  in 
this  tradition  is  the  persistency  of  the  established  criticism  as 
compared  with  the  lack  of  first  hand  acquaintance  with  the 
author.  The  mind  of  the  writer  has  in  this  investigation  con- 
stantly reverted  to  Pope,  with  whom  in  style  Horace  has  numerous 
points  in  common.  The  persistent  application  of  the  file  is  a 
cardinal  point  in  both  creeds,  and  the  resulting  product,  the  aurea 
mediocritas,  has  enriched  both  languages  with  a  large  number  of 
expressions  which  remain  indelibly  fixed  upon  the  memory. 
Striking  similarity  in  parodic  treatment  occurs,  and  their  styles 
reveal  other  points  in  common  which  cannot  now  be  discussed. 

Allusion  has  already  beeu  made  to  the  exceptional  adaptability 
and  congeniality  of  satire  in  its  traditional  unrestraint  as  a  vehicle 
of  expression  for  our  poet's  genius.  This  characteristic  of  the 
department  manifestly  stretches  back  to  the  remotest  outline  of 
literary  monument  until  the  whole  subject  is  shrouded  in  the 
uncertainty  and  conjecture  which  surround  its  origin.  This  tradi- 
tional unrestraint  is  reflected  not  only  in  the  detailed  treatment  of 
Horace's  style,  but  in  his  selection  of  topics  and  situations ; 
witness  the  variety  of  subjects  treated  in  the  satires,  and  within 
the  ransre  of  such  selections  observe  with  what  freedom  he  flits 
from  point  to  point,  often  careless  of  strict  logical  sequence,  the 
embodiment  of  his  own  metaphor  circumvolitas  agiUs  thyma. 

Now,  however  sure  we  may  feel  that  the  conversational  element 


Satires  and  Epidlcs  of  Horace.  13 

went  hand  in  hand  with  the  department  from  the  very  beginning, 
thongh  wc  should  even  feel  assured  that  this  association  antedates 
all  our  existing  literary  monuments,  I  am  firmly  convinced,  view- 
ing satire  in  its  development  as  a  department  of  literature,  that 
the  conversational  is  not  to  be  regarded  as  the  necessary,  in  the 
absolute  use  of  that  term,  but  rather  as  the  most  natural  reflec- 
tion of  that  which  is  vitally  departmental;  viz.,  unrestraint. 
Conceding,  therefore,  whatever  we  may  be  individually  inclined 
to  attribute  to  the  influence  of  tradition,  the  retention  of  the  dia- 
logue and  conversational  element  in  Horace,  as  elsewhere,  argues 
quite  as  much  its  inherent  fitness  for  a  definite  literary  role. 
Chat  is  the  personification  of  literary  unrestraint.  Chat,  there- 
fore, with  its  outgrowths,  dialogue  and  easy  discourse,  naturally 
plays  an  important  part  in  the  sermones. 

The  fact  that  these  same  elements  are  found  in  like  degree  in 
comedy,  and  that  in  both  satire  and  comedy  they  probably  spring 
from  a  like  origin  may  have  led  to  the  association  of  the  two 
departments  in  the  mind  of  Horace,  as  seen  in  the  fourth  satire. 
However,  Horace  could  no  more  have  ignored  the  real  poetry  to 
be  found  in  the  old  comedy  than  we  can  ignore  the  glimpses  of 
the  same  in  the  satires  and  epistles.  For  just  as  conversation, 
especially  of  the  educated  class,  being  the  faithful  mirror  of  fleeting 
impressions,  is  broad  in  scope,  including  it  may  be  the  imagina- 
tive and  poetic,  so  departments  of  literature  in  which  the  vital 
characteristic  is  unrestraint  do  no  violence  to  their  traditions  by 
marshaling  their  materials  from  well-nigh  the  whole  range  of 
literary  art. 

The  breadth  of  range  of  the  old  Attic  comedy  is  an  appreciable 
influence  in  the  sermones  of  Horace,^  and  as  real  poetry  is  an 
unmistakable  element  in  the  style  of  Aristophanes,  so  in  the  cita- 
tion of  examples  from  the  sermones  we  are  to  observe  the  important 
role  it  plays  in  Roman  Satire.  As  a  matter  of  fiict,  Horace  him- 
self outlines  the  composite  nature  of  his  art,  and  it  is  strange 
indeed  that,  in  the  interpretation  of  the  satires,  so  little  con- 
sideration has  been  given  to  this  passage  {Sat.  1,  10,  9  6:): 

1  Sat.  1,  10,  16  f.  ;  1,  4,  1  ff. 


14  The  Poetic  Element  in  the 

est  brevitate  opus,  lit  currat  sententia  ueii  se 
iiipediat  verbis  lassas  onerautibus  auris, 
et  sermone  opus  est  modo  tristi,  saepe  iocoso, 
defeudente  vicem  modo  rhetoris,  atque  poetae, 
interdum  urbani,  parceutis  viribus  atque 
exteuuantis  eas  consulto. 

There  are  those  who  regard  the  conversational  element  as  the 
poet's  express  device  to  lend  the  stamp  of  the  prosaic.  Such 
must  admit,  however,  that  the  disguise  is  not  complete;  in  other 
words,  that  there  are  glimpses  of  true  poetry,  poetry  of  a  high 
order,  where  there  is  probably  no  conscious  imitation  on  the  part 
of  the  poet ;  such  passages  as  appear  in  the  spontaneous  expres- 
sion of  personal  feeling ;  other  passages  which  can  be  traced  to  an 
imitation  of  earlier  Greek  and  Latin  poets  of  the  first  rank,  to 
say  nothing  of  poetic  vocabulary  and  phrase,  poetic  syntax,  epic 
parodies,  adaptation  of  epic  content,  and  other  poetic  types.  But 
the  poetic,  rhetorical,  and  conversational  elements  are  the  natiiral 
manifestation  of  a  great  departmental  principle.  To  see  in  the 
predominance  of  the  conversational  element  nothing  more  than  an 
individual  device  is  to  reverse  cause  and  effect,  as  w^ell  as  to 
accuse  Horace  of  grave  lapses  from  a  definite  role. 

In  this  investigation  the  epistles  have  been  included  for  the 
reason  that  the  results  would  be  unsatisfactory  if  we  were  left  in 
doubt  as  to  the  standing  of  the  e^^istles  from  this  point  of  view. 
Moreover,  Horace  bears  personal  testimony^  to  the  close  relation 
of  this  later  literary  activity  to  his  satires,  by  the  employment  of 
the  term  sennones.  There  can  be  little  doubt  that  this  includes 
both  satires  and  epistles.  External  testimony  points  in  the  same 
direction;  see  Quint.  1,  10,  94  ff.,  who  in  the  discussion  of  Horace 
has  no  separate  head  for  the  epistles.^  These  passages  will  speak 
for  themselves.  There  is  no  need  here  to  treat  at  length  the  dis- 
cussions to  which  these  and  other  direct  or  indirect  references  in 
antiquity  have  given  rise.     Internally,  as  well,  it  is  clearly  estab- 

'  Epp.  2,  1,  250 ;  2,  2,  60. 

'^  Compare  Sidonivs  Carm.  9,  221  fE.  ;  Porphyr.  on  Senn.  1,  1,  1  ;  also  on  Epp. 
1,  1,  1. 


Satires  and  Epistles  of  Horace.  15 

lished  that  the  resemblances  outweigh  the  differences,  though  the 
latter  are  far  from  slight.     No  one  can  pass  directly  from  the 
satires  to  the  epistles  without  being  duly  impressed  with  the  change 
of  atmosphere,  a  change  however  which  is  somewhat  baffling  to 
analyze.     Most  of  the  apparent  differences  stand  upon  one  or  two 
primary   distinctions.      The   first   is   a  formal   distinction   in   the 
adoption  of  the  epistolary  style.     Most  of  the  remaining  distinc- 
tions reflect  the  natural  development  of  the  poet's  life.     In  the 
epistles  we  mark  a  broader  circle  of  literary   influence,   and  a 
consequent  growth    of  literary  appreciation.     The   years   which 
elapsed  between  the  two  productions  were  years  in  which  metrical 
elegance  was  being  more  and  more  insisted  upon.    This  is  reflected 
in  the  superiority  of  the  epistles.     Maturity  has  substituted  much 
philosophical  lore  and  discussion   for  the  brimming  life  of  the 
satires.     Maturity  too  has  wrought  conservatism,  and  in  the  field 
of  humor  we  note  in  the  epistles  the  substitution  of  the  refined 
and  urbane  for  the  more  boisterous  mirth   of  the  satires.     The 
critical  faculty  and  the  didactic  element  are  more  marked  in  the 
epistles.^     One  thing  well  worth  observing  is  the  almost  entire 
absence  of  parody  in  the  epistles,  and  with  parody  are  lacking  the 
rapid  contrasts  treated  in  the  same  connection.     No  doubt  this 
phenomenon  is  also  partly  due  to   the  above  mentioned  formal 
distinction  ;  but  not  altogether.     Parody  is  easy.     It  has  not  the 
same  charm  for  maturity  as  for  youth. 

The  poetic  passages  in  description  of  nature  also  show  a  majority 
for  the  satires.  But  in  the  laudatory  passages,  o\Nang  to  the  more 
prominent  personal  element,  and  in  those  where  the  pastoral  note 
is  discernible,  the  epistles  present  more  poetic  material,  although 
some  of  the  best  in  both  categories  occur  in  the  satires.  The 
same  is  true  of  the  passages  where  philosophic  earnestness  affects 
the  style.  The  fine  passage  longer  than  the  rest,  reflecting 
Lucretius  in  the  description  of  primitive  man  occurs  in  the  satires 
(1,  3,  99  ff.).  Cases  of  notably  poetic  comparisons  also  show  the 
epistles  in  the  lead. 

In  our  effort  to  discover  the  poetic  element  in  the  satires  and 

^See  Brand,  /.  c. 


16  The  Poetic  Element  in  the 

epistles  the  way  is  not  blazed  by  that  lofty,  often  distorted  imagi- 
nation characteristic  of  much  modern  verse.  Of  the  "  low  relief 
of  antiquity  "  Horace  is  by  nature  a  fit  representative.  Modera- 
tion and  self-restraint  are  the  keys  to  his  composition  as  well  as 
to  his  life.  Again  we  are  not  left  without  direct  testimony ;  see 
A.  P.  333  ff.  : 

aut  prodesse  volimt  aut  delectare  poetae 
aut  simnl  et  iucunda  et  idonea  dicere  vitae. 
quidquid  praecipies,  esto  brevis,  ut  cito  dicta 
percipiant  animi  dociles  teneantque  fideles  : 
omne  supervacuum  pleno  de  pcctore  manat. 
ficta  voluptatis  causa  sint  proxima  veris  : 
ne,  quodcumque  volet  poscat  sibi  fabula  credi, 
neu  pransae  Lamiae  vivum  puerum  extrahat  alvo. 

The  genius  of  Horace  extends  to  the  minutest  details  of  his 
art.  We  must  be  willing  to  trace  every  application  of  the  file. 
See  A.  P.  289  ff. ;  Epj).  2,  1,  167 ;  and  especially  A.  P.  45  ff.  : 

in  verbis  etiam  tenuis  cautusque  serendis, 
hoc  amet,  hoc  spernat  promissi  carmiuis  auctor. 
dixeris  egregie,  notum  si  callida  verbum 
reddiderit  iunctura  novum. 

These  lines  I  suspect  were  in  the  mind  of  Conington  when  he 
gave  such  apt  expression  to  the  following,  especially,  as  in  the 
same  paragraph  he  makes  prominent  reference  to  Horace's  dictum 
of  the  file  :  ^ 

"  We  are  apt,  perhaps,  not  sufficiently  to  consider  what  is 
involved  in  the  style  or  diction  of  poetry.  We  distinguish  sharply 
between  the  general  conception  and  the  language,  as  if  the  power 
which  strikes  out  the  one  were  something  quite  different  from  the 
skill  which  elaborates  the  other.  No  doubt  there  is  a  difference 
between  the  two  operations,  and  one  which  must  place  a  poet  like 
Virgil  at  a  disadvantage  as  compared  with  the  Avriters  whom  he 
followed ;  but  it  would  be  a  mistake  to  suppose  that  imagination 

^  Edit,  of  Vergil,  Haverfield's  revision,  vol.  i,  p.  16. 


Satires  and  Epistles  of  Horace.  17 

may  uot  be  shown  in  the  words  which  embody  a  thought  as  well 
as  in  the  thought  which  they  embody.  To  express  a  thought  in 
language  is  in  truth  to  express  a  larger  conception  by  the  help  of 
a  number  of  smaller  ones ;  and  the  same  poetical  faculty  which 
originates  the  one  may  well  be  employed  in  producing  the  other. 
It  is  uot  merely  that  the  adaptation  of  the  words  to  the  thought 
itself  requires  a  poet's  sense,  though  this  is  much ;  but  that  the 
words  themselves  are  images,  each  possessing,  or  capable  of 
possessing,  a  beauty  of  its  own,  which  need  not  be  impaired,  but 
may  be  illustrated  and  set  off,  by  its  relative  position,  as  contribu- 
ting to  the  development  of  another  and  more  complex  beauty.  It 
is  not  necessary  that  these  words,  in  order  to  be  poetical,  should 
be  picturesque  in  the  strict  sense  of  the  term ;  on  the  contrary,  it 
may  suit  the  poet's  object  to  make  a  physical  image  retire  into  the 
shade,  not  advance  into  prominent  light :  but  the  imagination  will 
still  be  appealed  to,  whatever  may  be  the  avenue  of  approach — by 
the  effect  of  perspective,  by  artful  juxtaposition,  by  musical  sound, 
or  perhaps,  as  we  have  already  seen,  by  remote  intellectual 
association." 

With  the  Horatian  method  so  clearly  outlined  by  the  author's 
own  dictum,  it  is  evident  that  but  one  course  is  open  to  this 
investigation;  viz.,  an  examination  of  the  smallest  elements  of 
style ;  the  sentence,  phrase,  and  vocabulary.  This  examination  it 
is  our  puqDose  to  make  from  both  the  literary  and  syntactical 
points  of  view.^  Our  attitude  toward  the  passages  in  Horace 
which  have  been  supposed  to  renounce  all  claim  to  poetic  art  is 
that  these  passages  at  most  can  refer  to  the  general  texture  of 
style,  and  that  the  modest  understatement  so  apparent  in  their 
setting  prompts  just  such  an  investigation. 

Mueller  has  observed  that  the  passages  of  poetic  elevation  are 
for  the  most  part  very  short.  This  is  so,  but  again  characteristic 
of  our  author's  style,  and  producing  a  distinct  effect,  for  this 
"effect  of  detiichmeut"  appears  quite  as  frequently  in  the  odes, 
and  again  recalls  one  of  the  leading  characteristics  of  Pope. 

^  The  syntactical  side  of  the  investigation  will  appear  at  an  early  date. 


V 


'VfRSlTY 


o.. ,::, 


18  The  Poetic  Element  in  the 


REAL   POETRY. 

lu  a  large  class  of  examples  it  seems  fruitless  to  classify,  as 
fruitless  as  to  attempt  to  establish  a  law  for  the  rapid  play  to  be 
observed  throughout  the  satires.  Nothing  is  more  distinctive  in 
the  satires  of  Horace  than  their  rapid  transitions.  We  may  obser\^e 
almost  within  the  compass  of  the  same  sentence  the  conversational, 
elevated,  poetic,  and  parodic  element.  The  poetic  touch,  as  seen 
in  many  of  the  follo-sving  examples,  is  to  strengthen  the  tone  of 
genial  pleasantly.  This  object  is  often  effected  through  contrast, 
the  poetic  touch  being  in  striking  proximity  to  treatment  of  an 
entirely  different  nature. 

As  examples,  mark  first  Sat.  2,  6,  102  f,  rubro  ubi  cocco  | 
tincta  super  lectos  cauderet  vestis  eburuos,^  where  following  closely 
upon  an  amusing  epic  parody  we  have  a  poetic  description  of 
luxurious  apartments.  Thus  most  of  the  fable  of  the  coimtry 
and  the  city  mouse  has  the  setting  of  lofty  style  in  contrast  to 
the  simplicity  of  subject. 

There  is  mucli  of  a  similar  character  in  the  Canidia  Satire 
(1,  8),  for  instance,  the  poetic  touch  in  the  description  of  the 
moon,  vss.  21  f.,  simul  ac  vaga  luna  decorum  |  protulit  os, — cf. 
Verg.  G.  4,  232  :  simul  os  terris  ostendit  honestum  ;  A.  8,  589  : 
Lucifer  ....  extulit  os  sacrum  caelo.  Observe  too  the  elegance 
of  vss.  19  f.,  carminibus  quae  versant  atque  venenis  |  humanos 
animos.  Mark  the  weird  solemnity  of  vss.  23  ff.  :  vidi  egomet 
nigra  succinctam  vadere  palla  |  Canidiam,  ....  pallor  utrasque  | 
fecerat  horrendas  adspectu.  scalpere  terram  |  unguibus  et  pullani 
divellere  mordicus  agnam  j  coeperunt :  cruor  in  fossam  confusus, 
ut  inde  |  manis  elicerent  animas  respousa  daturas  ....  Hecaten 
vocat  altera,  saevam  |  altera  Tisiphonen.  With  vs.  34  the  fantas- 
tic imagination  again  lifts  us  into  the  sphere  of  the  poetic, — 
serpentes  atque  videres  |  iufernas  errare  canis  Lunamque  rubentem. 

In  Sat  1,  1,  68  :  Tantalus  a  labris  sitiens  fugientia  captat  | 
flumina — Horace  is  his  own  commentator  for  the  impression  he 

^  The  citation  of  examples  is  throughout  from  the  edition  of  Kiessling. 


Satires  and  Epistles  of  Horace.  19 

wishes  to  convey  by  this  apparently  serious  and  poetic  reference 
to  mythical  material,  as  is  seen  in  the  immediate  and  abrupt : 
quid  rides?  mutato  nomine  de  te  |  fabula  narratur.  Cf.  the 
appreciative  note  of  Fritzsche  on  the  felicitous  word  collocation. 

Even  the  gastronomic  satire  (2,  4)  has  its  parallels ;  vs.  30  : 
lubrica  nascentes  inplent  couchylia  lunae ;  vs.  77  :  angustoque 
vagos  piscis  urgere  catiuo. 

Sat.  2,  5,  49  :  siquis  casus  puerum  egerit  Oreo.  An  oracle  has 
naturally  a  poetic  setting,  Sat.  1,  9,  31  :  hunc  neque  dira  venena, 
nee  hosticus  auferet  ensis. 

In  Epp.  1,  19,  44  :  fidis  enim  manare  poetica  mella  |  te  solum, 
— Kiessling  sees  the  possibility  of  a  poetic  reminiscence  and  com- 
pares II.  1,  249  :  ToO  Koi  airo  >yX(ocrcn]<i  /xeXLTO^  yXvKicov  peev  avhrj. 

Mark  the  playful  touch,  Epp.  1,  18,  64  :  donee  |  alterutrum 
velox  victoria  fronde  coronet ;  also  Sat.  1,  5,  97  :  dehinc  Gnatia 
lymphis  |  iratis  exstructa  dedit  risusque  iocosque. 

Sat.  2,  1,  57  f.,  seu  me  tranquilla  senectus  |  exspectat  sen  Mors 
atris  circumvolat  alis, — Horace  grows  poetic  over  his  determina- 
tion to  write  :  cf.  Verg.  6,  86(3 ;  Tibul.  1,  3,  5  ;  Iliad,  2,  834,  and 
especially  16,  350;   Odyss.  4,  180. 

Sat.  2,  7,  115  :  nam  comes  atra  premit  sequiturque  fugacem. 
Kiessling  notes,  Der  Gedanke  ist  das  Motiv  zu  Od.  iii,  1,  37  fg. 
und  hat  dem  beriilimten  post  equitem  sedet  atra  cura  seine  Farbe 
geliehen.  Note  the  immediate  transition  in  the  rejoinder  :  unde 
mihi  lapidem? 

In  Ej^p.  2,  2,  79  f.,  observe  the  contrast  of  the  lines :  tu  me 
inter  strepitus  nocturnos  atque  diurnos  |  vis  canere  et  contracta 
sequi  vestigia  vatum  ? 

Sat.  1,  6,  23  f.,  sed  fulgente  trahit  constrictos  Gloria  curru  |  non 
minus  ignotos  generosis.  Mark  the  easy  reference  to  the  fable 
immediately  preceding,  in  propria  non  pelle  quiessem,  and  the  con- 
versational style  immediately  following,  quo  tibi,  Tilli  |  sumere 
depositum  clavum  fierique  tribuno?     Cf.  Epj).  2,  1,  177. 

Sat.  2,  3,  136:  in  matris  iugulo  ferrum  tepefecit  acutum? 
Wickham  marks  the  contrast  between  the  epic  realism  of  the  line 
and  the  semi-comic  conclusion  of  the  passage. 


20  The  Poetic  Element  in  the 

Sat.  1,  1,  4  f.,  gravis  anuis  |  miles  ait,  multo  iam  fractus  membra 
labore. 

We  will  next  cite  passages  in  description  of  nature  or  natural 
phenomena. 

Sat.  2,  6,  25  f.,  sive  aquilo  radit  terras  sen  bruma  nivalem  | 
interiore  diem  gyro  traliit.  The  verb  radere  has  numerous  strik- 
ing uses  in  the  poets;  cf.  Verg.  A.  5,  216  f.,  mox  aere  lapsa 
quieto  |  radit  iter  liquidum,  celeres  neque  commovet  alas.  Cf. 
Milton,  Par.  Lost,  ii,  634  :  "  Shaves  with  level  wing  the  deep." 

Other  descriptions  associated  with  winter  occur.  Sat.  1,  1,  36  : 
simul  inversum  contristat  Aquarius  annum.  Cf.  Verg.  G.  3, 
279  :  pluvio  contristat  frigore  caelum. 

We  have  an  undoubted  poetic  verse  in  Sat.  1,  7,  27  :  ruebat  | 
flumen  ut  hiberuum,  fertur  quo  rara  securis.  It  is  in  marked 
contrast  to  its  setting  in  the  wordy  Vv'ar  between  Rupilius  Rex 
and  Persius.  Cf.  Ov.  Fast.  4,  649  :  silva  vetus  nullaque  diu 
violata  securi. 

Note  the  following  rapid  panorama  of  distant  scenes,  where, 
too,  personification  lends  poetic  color,  Epp.  1,  3,  off.:  Thracane 
YDS  Hebrusque  nivali  compede  viuctus,  |  an  freta  vicinas  inter 
curreutia  turris,  |  an  pingues  Asiae  campi  collesque  morautur? 
Cf.  Ejjp.  1,  16,  12  f. 

With  this  flitting  from  point  to  point,  yet  in  their  choice  of 
the  sunny  side  of  nature  a  contrast  to  the  above,  compare  A.  P., 
16  ff. :  cum  lucus  et  ara  Dianae  |  et  properautis  aquae  per  amoenos 
ambitus  agros  |  aut  flumen  Rhenum  aut  pluvius  describitur  arcus. 
Epj).  1,  6,  5  f.,  quid  censes  munera  terrae,  |  quid  maris  extremes 
Arabas  ditantis  et  Indos.  Sat.  1,  4,  30  :  vespertina  tepet  regio. 
The  brief  poetic  touch  is  again  in  contrast  with  its  setting. 
Miiller  notes  :  In  Bezug  auf  den  erhohten  Ton  der  Rede  bemerke 
man,  dass  Horaz  ofters  in  Satiren  uud  Episteln,  wo  er  von  der 
auri  sacra  fames  redet,  pathetisch  wird.     Cf.  Sat.  1,  1,  38  if. 

Sat.  1,  1,  58  :  cum  ripa  simul  avolsos  ferat  Aufidus  acer.  Cf. 
Od.  4,  14,  25 ff.:  sic  tauriformis  volvitur  Aufidus,  |  qui  regna 
Dauni  prsefluit  Apuli,  |  cum  saevit  horrendamque  cultis  |  diluviem 
meditatur  agris.     Od,  3,  30,  10 :  violens  Aufidus.     Od.  4,  9,  2. 


V. 

Satires  and  Epistles  of  Horace.  21 

Most  of  the  examples  quoted  above  are  iu  description  of  far 
away  scenes  of  Thrace,  India,  etc.,  but  those  at  home  claim  none 
the  less  share  of  the  poet's  attention,  especially  when  the  pride 
of  ownership  lends  charm  in  the  eyes  of  the  poet.  Thus  in  the 
opening  of  the  sixteenth  epistle  of  the  first  book,  addressed  to 
Quiutus,  a  rather  longer  description  of  his  estate  than  usual  dis- 
closes many  poetic  touches,  one  of  which  occurs  in  vss.  5  ff. : 
continui  montes  dissocientur  opaca  |  valle,  sed  ut  veniens  dextrum 
latus  aspiciat  sol,  |  laevum  decedens  curru  fugiente  vaporet,  | 
temperiem  laudes. 

Epp.  1,  18,  104f.,  me  quotieus  reficit  gelidus  Digentia  rivus,  | 
quem  Mandela  bibit,  rugosus  frigore  pagus.  With  the  last  phrase 
it  is  interesting  to  compare  a  line  in  Shelley's  Prometheus  Unbound, 
Act  1,  "Ye  icy  Springs,  stagnant  with  lorinJding  frost," — and  still 
nearer  to  our  passage,  Act  2,  scene  1, 

"  When  swift  from  the  white  Scythian  wilderness 
A  wind  swept  forth  wrinkling  the  Earth  with  frost." 

Sat.  2,  6,  91:  praerupti  nemoris  patientem  vivere  dorso? 
comes  again  from  the  fable  of  the  city  and  the  country  mouse. 

Observe  the  poetic  one  line  description  of  Anxur  as  it  breaks 
upon  the  view  in  the  journey  to  Brundisium,  Sat.  1,  5,  26  : 
inpositum  saxis  late  candentibus  Anxur. 

In  this  connection  we  will  cite  a  few  similes  and  metaphors. 
Two  come  under  nature  descriptions,  Sat.  1,  7,  27  ;  see  p.  20. 
Epp.  1,  16,  13  :  ut  nee  |  frigidior  Thracam  nee  purior  ambiat 
Hebrus.  In  these,  as  in  the  following,  note  the  employment  of 
the  river,  a  favorite  comparison  with  our  author. 

The  bard  in  his  choice  of  felicitous  expression  will  flow  like 
a  crystal  stream,  Epp.  2,  2,  120:  vemens  et  liquidus  puroque 
simillimus  amni  |  fundet  opes  Latiumque  beabit  divite  lingua. 
Epp.  1,  2,  43  :  at  ille  |  labitur  et  labetur  in  omue  volubilis 
aevum. 

The  vocabulary  of  a  language  grows  old,  words  change  and  die 
away  like  the  leaves  of  the  forest,  A.  P.  60  :  ut  silvae  foliis 
pronos  mutantur  in  annos. 

The  comparisons,  as  we  shall  so  frequently  observe  elsewhere, 


22  The  Poetic  Element  in  the 

are  sometimes  iu  contrast  to  the  amusing  setting  of  the  descrip- 
tion, as  at  the  upstart's  dinner  party,  Sat.  2,  8,  13  f.,  ut  Attica 
virgo  I  cum  sacris  Cereris  procedit  fuscus  Hydaspes.  Vss.  54  ff. : 
interea  suspensa  gravis  aulaea  ruiuas  |  in  patinam  fecere,  trahentia 
pulveris  atri  |  quantum  non  aquilo  Campanis  excitat  agris.  Cf. 
Sat.  1,  4,  31. 

In  the  following  the  editors  have  noted  a  probable  reminiscence. 
Sat.  1,  1,  114  if. :  ut,  cum  carce7'ibus  missos  rapit  ungula  currus,  I 
instat  equis  auriga  suos  vincentibus,  ilium  |  praeteritum  temnens 
extremes  inter  euntem.  Yerg.  G.  1,  512  if.  :  saevit  to  to  Mars 
impius  orbe;  |  ut  cum  carcerihus  sese  effudere  quadrigae,  |  addmit 
in  spatio,  et  frustra  retinacula  tendens  |  fertur  equis  auriga,  neque 
audit  currus  habenas. 

Examination  shows  the  setting  of  the  Horace  passage  quite 
natural  and  easy,  whilst  the  comparison  of  Vergil  seems  not  well 
chosen.  Sellar,  Roman  Poets,  Vergil,  p.  174,  thinks  Vergil  had 
the  Horace  passage  iu  mind.  He  is  followed  by  Wickham. 
Kiessliug  leans  to  the  same  solution ;  see  his  note,  and  introduc- 
tion to  the  satires,  p.  xiv  f. 

Compare  the  simile  of  the  bear,  A.  P.  472  f.,  ac  velut  ursus,  | 
obiectos  caveae  valuit  si  frangere  clathros;  of  the  bee,  Epp.  1,  3, 
21  :  quae  circumvolitas  agilis  thyma?  of  the  horse,  Epp.  1,  2,  64  : 
iingit  equum  tenera  docilem  cervice  magister, — of  the  hunting-dog, 
Epp.  1,  2,  65  ff.,  venaticus,  ex  quo  |  tempore  cervinam  pellem 
latravit  in  aula,  |  militat  in  silvis  catulus. 

The  following  are  less  striking,  E2)p.  2,  2,  201  f.,  non  agimur 
tumidis  velis  aquilone  secundo,  |  non  tamen  adversis  aetatem 
ducimus  austris.  Sat.  2,  1,  40  f.,  et  me  veluti  custodiet  ensis  | 
vagina  tectus. 

Several  pastoral  passages  are  to  be  noted,  some  strongly  recall- 
ing the  eclogues  of  Vergil,  which  it  is  more  than  likely  Horace 
had  read  or  heard.  Sat.  1,  10,  44  f.,  molle  atque  facetum  | 
Vergilio  adnuerunt  gaudentes  rure  camenae,  would  suggest  not 
only  that  Vergil  had  published  his  eclogues,  but  that  Horace 
appreciated  and  had  imbibed  some  of  their  spirit. 

Seemingly  reminiscent  of  the  fourth  eclogue  in  its  suggestion 


Sailres  and  Ejnstles  of  Horace.  23 

of  the  return  of  peace  and  the  golden  age  is  Epp.  1,  12,  28  f, 
aurea  fruges  |  Italiae  pleno  defudit  Copia  cornu.  Cf  Hor.  C.  S. 
59  f ,  adparetque  beata  pleno  |  Copia  cornu.  There  are  numerous 
parallels  in  Horace.  Cf  Od.  1,  17,  16  ;  4,  2,  40 ;  4,  5,  17  ;  4, 
15,  5.  Material  prosperity  with  rich  harvests  lends  much  of  the 
attraction  in  all  these  pictures. 

Sat  2,  2,  124f.,  ac  venerata  Ceres,  ita  culrao  surgeret  alto,  | 
explicuit  vino  contraetae  seria  frontis.     Cf.  Verg.  EcL  5,  39  ;  6, 

39;   G.  1,  161. 

Ejjp.  1,  16,  2f,  arvo  pascat  erum  an  bacis  opulentet  olivae,  | 
pomisne  an  pratis  an  amicta  vitibns  ulmo. 

Epp.  1,  2,  45  :  et  incultae  pacantur  vomere  silvae.  Sat.  1,  1, 
28  :  ille  gravem  duro  terram  qui  vertit  aratro.     Cf  A.  P.  6Q. 

Epp.  1,  10,  6  f ,  ego  laudo  ruris  amoeni  |  rivos  et  musco  cir- 
cumlita  saxa  nemusque.     Cf.  Verg.  Eel.  6,  62. 

Ejyp.  1,  16,  8  if.  :  quid,  si  rubicunda  benignae  |  corna  vepres  et 
pruna  ferant?  si  quercus  et  ilex  |  multa  fruge  pecus,  multa  domi- 
num  iuvet  umbra? 

Ejip.  1,  8,  4  ff. :  baud  quia  grando  |  contuderit  vitis  oleamve 
momorderit  aestus,  |  nee  quia  longinquis  armentum  aegrotet  in 

agris. 

Sat.  1,  3,  37:  namque  |  neglectis  ureuda  filix  innascitur  agris. 
Cf  Verg.  G.  2,  189  :  et  filicem  curvis  invisam  pascit  aratris. 

Epp.  1,  14,  26  ff. :  et  tamen  urgues  |  iam  pridem  non  tacta 
ligonibus  arva  bovemque  |  disiunctum  curas  et  strictis  frondibus 
exples. 

Epp.  2,  1,  207  :  lana  Tarentino  violas  imitata  veneno.  Cf 
Verg.  Ed.  4,  42.  E2)p.  2,  2,  160  f,  et  vilicus  Orbi,  |  cum  segetes 
occat  tibi  mox  frumenta  daturas.     Cf.  Sat.  2,  2,  115. 

Note  in  the  comparison  Horace  makes  for  Fuscus  in  Epp.  1, 
10  how  the  poetic  touches  appear  on  the  side  of  the  country  as 
against  the  city;  see  Epp.  1,  10,  6  f,  cited  above.  Cf  Epp.  1, 
10,  15ff.  :  est  ubi  plus  tepeant  hiemes,  ubi  gratior  aura  |  leniat 
et  rabiem  Canis  et  momenta  Leonis,  |  cum  semel  accepit  Solem 
furibundus  acutum  ?  In  the  city  even  an  artificial  likeness  to  the 
country  commends  itself,  vss.  22  f,  nempe  inter  varias  nutritur 
silva  columnas,  |  laudaturque  domus  longos  quae  prospicit  agros. 


24  The  Poetic  Element  in  the 

From  these  passages  together  with  those  cited  under  nature 
descriptions,  we  are  in  a  position  to  suspect  the  correctness  of 
Tyrrell's  view  that  Horace  was  not  a  lover  of  the  country  for  its 
own  sake;  see  his  "Latin  Poetry,"  p.  ISOff. 

The  next  group  to  be  considered  is  composed  of  distinctly 
laudatory  passages.  By  far  the  greater  number  pertain  to 
Augustus,  many  to  his  military  achievements.  As  we  should 
expect  these  passages  reveal  considerable  poetic  material.  We 
note  first  the  achievements  of  Augustus  among  the  Parthians, 
Epp.  1,  18,  54  if.  :  denique  saevam  [  militiam  puer  et  Cantabrica 
bella  tulisti  |  sub  duce  qui  templis  Parthorura  signa  refigit.  Cf. 
Sat.  2,  5,  62  ff.  :  tempore  quo  iuvenis  Parthis  horreudus,  ab 
alto  I  demissum  genus  Aenea,  tellure  marique  |  magnus  erit.  Cf. 
Verg.  A.  1,  288  :  lulius,  a  magno  demissum  nomen  lulo.  Verg. 
6r.  3,  35  :  demissaeque  ab  love  gentis. 

Highly  poetic  and  in  an  epic  vein  is  Sat.  2,  1,  13  ff.  :  neque 
enim  quivis  horrentia  pilis  |  agmina  nee  fracta  pereuntis  cuspide 
Gallos  I  aut  labentis  equo  describit  volnera  Parthi. 

Sat.  2,  1,  10  ff.,  aude  |  Caesaris  invicti  res  dicere,  multa  labo- 
rum  I  praemia  laturus,  where  observe  the  satirical  note  in  the 
mouth  of  Trebatius.  Wickham  notes  that  Horace  employs  invidus 
of  Achilles,  Upod.  13,  12  ;  and  of  Juppiter,  Od.  3,  27,  73. 

Epp.  2,  2,  47  ff.,  me  ....  civilis  ....  tulit  aestus  in  arma  | 
Caesaris  Augusti  non  responsura  lacertis.  Epp.  1,  3,  8  :  bella 
quis  et  paces  longiun  diffundit  in  aevum?  Ej^p.  1,  17,  33  f.,  res 
gerere,  et  captos  ostendere  civibus  hostis,  |  attingit  solium  lovis  et 
caelestia  temptat. 

It  is  not  perfectly  clear  in  the  following  reference  whether 
Horace  has  in  mind  Julius  Caesar  or  Augustus.  A.  P.  63  ff.  : 
sive  receptus  |  terra  Neptunus  classis  aquilonibus  arcet,  |  regis 
opus,  sterilisve  pains  diu  aptaque  remis  |  vicinas  urbis  alit  et 
grave  sentit  aratrum,  |  sen  cursum  mutavit  iniquum  frugibus 
amnis  |  doctus  iter  melius  :  mortalia  facta  peribunt,  |  nedum 
sermonum  stet  honos  et  gratia  vivax. 

Epp.  2,  1,  5  ff.  :  Romulus  et  Liber  pater  et  cum  Castore 
Pollux,  I  post    ingentia  facta   deorum    in    templa    recepti,  j  dum 


Satires  and  Epistles  of  Horace.  25 

terras  homiunmque  colunt  genus.  Here  in  the  adulation  of  the 
poet  Augustus  is  grouped,  at  least  by  implication,  with  the  deities 
of  vs.  5,  and  with  Hercules  in  vss.  10  if. 

Elevated,  and  frequently  poetic,  is  Ej^p.  2,  1,  245  ff.  : 

at  neque  dedecorant  tua  de  se  indicia  atque 
munera  quae  multa  dautis  cum  laude  tulerunt 
dilecti  tibi  Vergilius  Variusque  poetae, 
nee  magis  expressi  voltus  per  aenea  signa 
quam  per  vatis  opus  mores  auimique  virorum 
clarorum  adparent.    nee  sermones  ego  mallem 
repentis  per  humum  quam  res  conponere  gestas, 
terrarumque  situs  et  flumiua  dicere  et  arcis 
montibus  inpositas  et  barbara  regna  tuisque 
auspiciis  totum  confecta  duella  per  orbem 
claustraque  custodem  pacis  cohibentia  lanum 
et  formidatam  Parthis  te  principe  Romam. 

SaL  1,  10,  48  f.  is  a  poetic  reference  to  Lucilius :  neque  ego 
illi  detrahere  ausim  |  haerentem  capiti  cum  multa  laude  coronam. 

Several  laudatory  poetic  touches  occur  in  the  epistle  to  Julius 
Florus  (1,3);  see  above  the  one  upon  Augustus,  vs.  8.  Vs.  25 
concerns  Julius  Florus  himself:  prima  feres  hederae  victricis 
praemia.  Vs.  12f.  refers  to  Titus :  fidibusne  Latinis  |  Thebanos 
aptare  modos  studet  auspice  musa ;  also  vs.  10  f.,  Pindarici  fontis 
qui  non  expalluit  haustus,  |  fastidire  lacus  et  rivos  ausus  apertos. 
Note  the  fine  effect  of  expallesco  employed  transitively. 

Sat  2,  1,  QQ:  qui  |  duxit  ab  oppressa  meritum  Carthagine 
nomen. 

Next  to  be  considered  are  passages  where  a  tone  of  philosophic 
earnestness  elevates  the  style  into  the  poetic  sphere. 

A  strong  passage  on  the  primitive  condition  of  man,  contaming 
much  of  the  thought  o{  Lucretius  5,  803  ff.,  is  Sat.  1,  3,  99  ff. 
Mark  especially  vss.  99  ff.,  cum  prorepserunt  primis  animalia 
terris,  |  mutum  et  turpe  pecus,  glandem  atque  cubilia  propter  | 
uuguibus  et  puguis  ....  puguabaut ;  and  vss.  108  ff. :  sed  ignotis 


26  The  Poetic  Element  in  ilie 

perierunt  mortibus,  illi  |  quos  Venerem  incertara  rapientes  more 
feraruni  |  viribus  editior  caedebat  ut  in  grege  taurus. 

Death  is  the  leveler  of  possessions  and  possessor,  Epp.  2,  2, 
177  ff.  :  quid  vici  prosunt  aut  horrea,  quidve  Calabris  |  saltibus 
adiecti  Lucani,  si  metit  Orcus  |  grandia  cum  parvis,  non  exora- 
bilisauro?     Cf.  0(Z.  2,  18,  34. 

The  event  of  nature  is  heralded  by  the  flight  of  years,  which 
steal  in  their  course  the  delights  of  life,  Epp.  2,  2,  55 :  singula 
de  nobis  anni  praedantur  euntes.  Envy  pursues  to  the  end, 
witness  the  case  of  Hercules,  Epp.  2,  1,  lOff.  :  diram  qui  con- 
tudit  hydram  |  notaque  fatali  portenta  labore  subegit,  |  conperit 
invidiam  supremo  fine  domari. 

For  an  elevated  description  of  natural  phenomena  referred  to 
Empedocles  and  Stertinius,  cf.  Epp.  1,  12,  15if. :  et  adhuc  sub- 
limia  cures,  j  quae  mare  conpescant  causae,  quid  temperet  annum,  | 
stellae  sponte  sua  iussaene  vagentur  et  en-ent,  |  quid  premat 
obscurum  lunae,  quid  proferat,  orbem,  |  quid  velit  et  possit  rerum 
Concordia  discors,  |  Empedocles  an  Stertiuium  deliret  acumen. 
Cf.  Verg.  G.  2,  475  ff.  ;  Prop.  4,  5,  25  ff. 

A  simple  mode  of  living  once  appreciated  will  be  adhered  to 
even  in  prosperity,  Epp.  1,  12,  8  f ,  sic  vives  protinus,  ut  te  | 
confestim  liquidus  Fortunae  rivus  inauret. 

A  word  once  uttered  may  never  be  recalled,  Epp.  1,  18,  70  f., 
nee  retinent  patulae  conmissa  fideliter  aures,  |  et  semel  emissum 
volat  inrevocabile  verbum. 

Mark  the  elegance  of  Sat.  2,  2,  79  :  atque  adfigit  humo  divinae 
parti  culam  aurae. 

The  following  are  interesting  as  reflecting  the  emotional  side 
of  our  author  : 

Mark  the  sympathy  of  Epp.  1,  14,  6  ff.  :  me  quamvis  Lamiae 
pietas  et  cura  moratur,  |  fratrem  maerentis,  rapto  de  fratre  do- 
lentis  I  insolabiliter.  This  touch  recalls  for  a  moment  the  general 
rhythm  and  expression  of  Catullus.  Note  the  repetition  and 
rhyme. 

In  Sat.  1,  5,  43,  we  have  the  joy  of  meeting :  o  qui  conplexus 
et  gaudia  quanta  fuerunt !  in  Sat.  2,  6,  60  ff.,  the  longing  for  his 
beloved  country :  o  rus,  quando  ego  te  aspiciam  quandoque  lice- 


Satires  and  Epidles  of  Horace.  27 

bit  I  nunc  veterum  libris,  nunc  somno,  et  inertibus  horis  |  diiccrc 
sollicitae  iucunda  oblivia  vitae?  Observe  the  metrical  beauty 
of  tlie  last  verse,  and  the  felicitous  collocation  of  vowels  and 
consonants. 

Naturally  an  elevation  of  style  accompanies  an  expression  of 
filial  affection,  Sat.  1,  G,  93  ff.  :  nam  si  natura  iuberet  |  a  certis 
annis  aevum  remeare  peractum,  |  atque  alios  legere  ad  fastum 
quoscumque  parentes  |  optaret  sibi  quisque,  meis  contentus  hones- 
tos  I  fascibus  et  sellis  nollem  railii  sumere. 

In  Epp.  1,  19,  21  f.,  Horace  is  again  proudly  in  earnest :  libera 
per  vacuum  posui  vestigia  princeps,  |  nou  aliena  meo  pressi  pede. 

Lastly  may  be  noted  a  few  passages  in  praise  of  wine.  Sat. 
1,  4,  89:  coudita  cum  verax  aperit  praecordia  Liber.  Cf.  the 
playful  Epp.  1,  19,  3 ft.:  ut  male  sanos  |  adscripsit  Liber  Satyris 
Faunisque  poetas,  |  vina  fere  dulces  oluerunt  mane  Camenae.  | 
laudibus  arguitur  vini  vinosus  Homerus :  |  Ennius  ipse  pater 
numquam  nisi  potus  ad  arma  |  prosiluit  dicenda.  Cf.  too  Epp. 
1,  5,  16  ff.:  operta  recludit,  |  spes  iubet  esse  ratas,  ad  proelia 
trudit  iuertem,  |  soUicitis  animis  onus  eximit,  addocet  artis.  | 
fecundi  calices  quem  non  fecere  disertum  ?  |  contracta  quem  non 
in  paupertate  solutum  ?  ^ 


PARODY. 


As  indicated  in  the  introduction  we  naturally  find  most  of  this 
in  the  earlier  work  of  the  poet,  viz.,  the  Satires.  Parody  is  the 
hand-maid  of  satire,  and  by  its  very  nature  finds  its  home  in 
the  satiric  sphere.  Wherever  in  antiquity  a  department  of  litera- 
ture clothed  itself  in  an  essentially  distinctive  form  and  language, 
parody,  especially  with  the  quick-witted  Greeks,  immediately 
arose  to  suit  humorous  and  frequently  ridiculous  material  to  the 
new  mold.  For  such  comic  adaptation  epic  and  tragedy  were 
manifestly  the  richest  field.  The  ass  delighted  to  disport  in  the 
skin  of  the  lion. 

iCf.  Sat.  2,  6,  G7fF.  ;  Kpp.  1,  14,  34f.  ;  Epp.  1,  15,  18. 


28  The  Poetic  Element  in  the 

Parody  is  not  a  business  with  Horace.  No  detailed  employ- 
ment of  it  parallel" to  that  of  the  great  Greek  master  is  to  be 
found.  It  is  not  sought,  but  comes  unbidden.  There  is  no 
straining  for  eifect.  The  brief  touches  which  enliven  the  satires 
impress  us  as  genuine  ebullitions  of  innate  humor,  the  natural 
expression  of  a  mind  richly  dowered  with  literary  reminiscence  at 
play  in  the  freedom  of  satiric  style. 

The  parodic  touch  is  at  times  broad  and  unmistakable,  at  times 
subtle  and  insinuating,  now  dealing  with  well-known  or  charac- 
teristic epic  phraseology,  or  shading  into  half-tones  of  mock 
solemnity  ;  now  running  in  elusive,  not  to  say  baffling  suggestive- 
ness  of  the  very  breath  or  spirit  of  epic  and  tragic  style. 

We  will  first  note  two  humorous  and  frequently  quoted  parodies 
of  epic  descriptions  of  night.  Sat.  1,  5,  9  f.,  iam  nox  inducere 
terris  |  umbras  et  caelo  diffundere  signa  parabat.  Cf.  7/.  14,  259  ff. 
The  goddess  Night  lends  Latin  poetry  many  beautiful  metaphors. 
Ennius,  Vahlen  A.  339  :  hinc  Nox  processit  stellis  ardentibus 
apta.  Verg.  A.  2,  360:  nox  atra  cava  circumvolat  umbra;  3, 
198:  nox  humida  caelum  abstulit ;  1,  89:  ponto  nox  incubat 
atra ;  2,  250 :  vertitur  interea  caelum  et  ruit  oceano  nox,  | 
involvens  umbra  magna  terramque  polumque.  Cf.  Ov.  Met.  11, 
309  :  nox  atra  cava  circumvolat  umbra.  There  are  frequent 
parallels  in  later  Latin  epic. 

This  parody  renders  more  humorous  by  contrast  the  succeeding 
lines  which  Wickham  aptly  terms  a  "  Dutch  picture." 

Nox  no  less  than  Sol  is  frequently  represented  as  traversing 
the  heavens  in  her  chariot ;  note  the  parody  in  Sat.  2,  6,  100  if., 
iamque  tenebat  |  Nox  medium  caeli  spatium,  cum  ponit  uterque  | 
in  locuplete  domo  vestigia.  Cf.  Eurip.  Ion  1150:  /ieXa/iTrcTrXo? 
he  Nuf  acreipwrov  ^vyol'i  |  o'^^rj/j,^  eiraWev.  Cf.  also  Verg.  A.  5, 
721  :  et  Nox  atra  polum  bigis  subvecta  tenebat.  Tibul.  2,  1, 
87  f.,  iam  Nox  iungit  equos,  currumque  secuntur  |  matris  lascivo 
sidera  fulva  choro, — 3,  4,  17  f.,  iam  Nox  aetherium  nigris  emensa 
quadrigis  |  mundum  caeruleo  laverat  amne  rotas.  See  Langen  on 
Val.  Flac.  3,  211  ;  Stat.  Theh.  2,  59. 

Another  parodic  touch  is  Sat.  1,  5,  20 :  iamque  dies  aderat 
....  cum. 


Satires  and  Epidles  of  Horace.  29 

The  following  examples  iuclicate  that  Horace  had  Homer  more 
or  less  in  mind.  Sat.  1,  5,  51if.  :  nunc  mihi  paucis  |  Sarmenti 
scurrae  puguam  Messique  Cicirri,  |  musa,  velim  memores  et  quo 
patre  uatus  uterque  |  coutulerit  litis.  Messi  clarum  genus  Osci,  | 
Sarmenti  domiua  exstat :  ab  his  maioribus  orti  |  ad  pugnam 
veuere.  Mueller  thinks  that  Horace  has  here  the  beginning  of 
the  Odyssey  in  mind. 

The  muse  is  addressed  again  in  Epj).   1,  8,  2  :   Musa  rogata 
refer,  where  however  the  allusion  is  but  playful. 

Sat.  2,  o,  20  f.,  fortem  hoc  animum  tolerare  iubebo  :  et  quondam 
maiora  tulit.  Cf.  Odyss.  20,  18  :  TerXaBi  8rj,  KpaSirj,  Kal  Kvvrepov 
aXXo  TrorerXi]^.  Fortem  probably  translates  the  epithet  rXrjixova. 
In  Sat.  2,  1,  60:  'o  puer,  ut  sis  vitalis  metuo,'  Horace  is 
doubtless  parodying  II.  18,  95  :  wKv/xopo^  Brj  fiot,  re/co?,  eaaeai, 
ol'a'yop€V€t<i. 
Sat.  1,  7,  9  flf.  : 

postquam  nihil  inter  utrumque 
convenit  (hoc  eteuim  sunt  omues  iure  molesti 
quo  fortes  quibus  adversum  bellum  incidit.     inter 
Hectora  Priamiden,  aniraosum  atque  inter  Achillem 
ira  fuit  capitalis,  ut  ultima  divideret  mors, 
non  aliam  ob  causam  nisi  quod  virtus  in  utroque 
summa  fuit :  duo  si  Discordia  vexet  inertis 
aut  si  disparibus  bellum  incidat,  ut  Diomedi 
cum  Lycio  Glauco,  discedat  pigrior,  ultro 
muneribus  missis),  Bruto  praetore,  tenente 
ditera  Asiam,  Rupili  et  Persi  par  pugnat  uti  non 
conpositum  melius  cum  Bitho  Bacchius. 

Horace  approaches  the  ridiculous  encounter  between  Persius  and 
Pupilius  Pex  as  some  soul-stirring  event.  Mark  the  retardmg 
effect  of  the  long  parenthesis,  with  the  drop  at  its  close  from  epic 
material  to  the  details  of  a  ludicrous  wrangle.  Some  of  the 
expressions  suggest  well-known  Homeric  phrases,  i.  e.,  adversum 
bellum,  St^io?  Tro'Xeytio?,  II.  4,  281  ;  animosum  Achillem,  fieyddvfio^ 
'AxtXXeu? ;  ultima  ....  mors,  Te\o<i  davdroio.  Note  the  epic 
verse  ending,  a  monosyllable  following  a  choriambus.    Cf.  Odyss. 


30  The  Foetic  Element  in  the 

5,  294 :  6p(i)p6L  S'ovpavoOev  vv^.  Verg.  A.  2,  250  :  ruit  Oceano 
nox.  Horace  burlesques  this  use  in  A,  P.  139  :  nascetur  ridi- 
culus  mus.  For  comic  effect  Horace  intentionally  departs  from 
the  description  of  II.  6,  235,  where  there  is  no  suggestion  of 
cowardice  on  the  part  of  Glaucus.  More  fair  would  have  been 
the  imputation  of  avarice  and  cunning  to  Diomedes. 

For  further  epic  touches  in  this  satire  cf.  vs.  28  :  multoque 
fluenti,  and  vs.  30  :  durus  |  vindemiator  et  invictus. 

In  Epp.  1,  18,  18:  pretium  aetas  altera  sordet,  Kiessling  sees 
a  parody  of  II.  9,  444  ff.  :  airo  ado,  <^l\ov  re/co?,  ovic  ideXoific  | 
Xeiireaff,  ovS'  et  k€v  fxoi  viroaTaLr]  ^eo9  avro^  |  yrjpa^  airo^vcra^ 
O'qaeiv  veov  rj/Scoovra. 

Sat.  2,  5,  49  :  siquis  casus  puerum  egerit  Oreo,  suggests  //.  1, 
3 :  "AiSi  7rpoLa-\}rev. 

Sat  1,  9,  78  :  sic  me  serva\^t  Apollo.  Cf.  II.  20,  443,  of  the 
rescue  of  Hector :  rbv  8'  i^j]pTTa^ev  ^AttoWcov.  In  the  very  same 
vein  is  vs.  20  of  this  same  satire :  demitto  auriculas,  recalling  the 
pathetic  words  of  Odyss.  17,  302  :  ovara  KUfifiaXev. 

Sat.  2,  3,  72  :  cum  rapies  in  ius  malis  ridentem  alienis.  Cf. 
Odyss.  20,  347  :  jvadfiolac  yeXcocov  aWorpioLo-Lv.  See  Porphyrio 
on  the  passage. 

Sat.  1,  2,  69  ;  diceret  haec  animus.  Mueller  notes :  wie  bei 
Homer  Odysseus  seinen  iJbeyaXijTopa  dvfjLov  auredet  (uachgeahmt 
von  Ennius  Ann.  vi,  25),  so  wird  auch  hier  der  Geist  vom  Men- 
schen  geschieden. 

Sat.  1,  8,  40:  singula  quid  memorem  is  an  amusing  touch  in 
the  mock  solemnity  of  the  Canidia  satire. 

With  a  like  eifect  Sat.  1,  10,  32,  represents  Romulus'  appear- 
ance to  Horace  in  a  dream.  Romulus  immediately  mouths  a 
proverb,  and  so  heightens  the  parody :  vetuit  me  tali  voce 
Quirinus,  |  post  mediam  noctem  visus,  cum  somnia  vera:  |  'in 
silvam  non  ligna  feras  insanius  ac  si  |  magnas  Graecorum  malis 
inplere  catervas.' 

In  Sat.  2,  8,  73  f.,  Balatro  tops  oif  his  ironical  speech  with  a 
mock  heroic  phrase :  sed  convivatoris  uti  ducis  ingenium  res  | 
adversae  nudare  solent,  celare  secundae. 

A  few  examples  in  the  form  of  a  prayer  may  be  cited.     Sat. 


Satires  and  Epistles  of  Horace.  31 

2,  6,  20  if.  :  Matutine  pater  sen  lauo  libentius  and  is,  |  uude 
homines  operuni  primos  vitaeque  labores  |  instituuut  (sic  dis 
placitum),  tu  carmiuis  esto  |  principium.     Cf.  //.  24,  308. 

Epj).  1,  IG,  62  :  'lane  pater  ....  Apollo  ....  da  mihi  fallere, 
da  iusto  sanctoque  videri,  |  uoctem  peccatis  et  fraudibus  obice 
nubem.'  Miiller  notes :  wie  die  G5tter  bei  Homer  selbst  ^epi  koI 
v€(f)e\r)  unerkeuubar  einherschreiten,  audi  ihre  Scliiitzlinge  in 
solclier  Verhiilluug  der  Gefahr  entzieheu ;  11.  3,  380  f. ;  20, 
443  f. 

Sat.  2,  5,  50  f.,  '  o  Laertiade,  quidquid  dicam  aut  erit  aut  non  : 
divinare  eteuim  magnus  mihi  donat  Apollo.'  Mueller's  argument 
against  the  above  punctuation  is  entirely  without  force.  From 
the  point  of  view  of  Tiresias  the  word  collocation  is  perfectly 
innocent  of  ambiguity,  equivalent  to  the  ra  Se  tol  vrjfi^epTea  eipw  of 
Odyss.  11,  137;  but  with  Horace,  without  doubt,  the  intention 
was  to  augment  the  humor  of  the  parody  by  the  implied  uutrust- 
worthiness  of  ancient  oracles. 

Oracular  language  is  again  employed  for  ludicrous  effect  in  Sat. 
2,  4,  10:  ede  hominis  nomen,  and  in  the  answer,  vs.  11:  ipsa 
memor  praecepta  canam,  celabitur  auctor. 

In  Sat.  1,  2,  37  f ,  audire  est  operae  pretium,  procedere  recte  | 
qui  moechos  non  voltis,  ut  omui  parte  laborent, — Horace  has  a 
parody  of  Ennius  of  rather  coarse  application,  Vahlen  A.  465 : 
audire  est  operae  pretium,  procedere  recte  |  qui  rem  Romanam 
Latiumque  augescere  vultis.  Cf  Sat.  2,  4,  63  :  est  operae  pretium, 
where  Horace  may  have  had  the  same  phrase  in  mind. 

The  following  may  also  be  Ennian  parodies ;  note  the  Vergilian 
parallels.  Sat.  2,  8,  34  :  nos  nisi  damnose  bibimus,  raoriemur 
inulti;  cf  Verg.  A.  2,  670:  numquam  omnes  hodie  moriemur 
iuulti.  Sat.  1,  5,  73  f ,  nam  vaga  per  veterem  dilapso  flamma 
culinam  |  Volcano  summum  properabat  lambere  tectum  ;  cf  Verg. 
A.  2,  684:  lambere  flamma  comas;  iMcret.  5,  396.  Mark  the 
alliteration. 

Mueller  sees  in  A.  P.  421  a  possible  parody  of  Verg.  A.  9,  26. 
This  is  to  be  regarded  as  the  very  remotest  of  possibilities. 

Two  passages  very  well  attested  as  referring  to  the  same  poet, 
Furius  Bibaculus,  are  Sat.  1,  10,  36  f ,  turgidus  Alpinus  iugulat 


32  TJie  Poetic  Element  in  the 

dum  Memuona  dumqiie  |  diffingit  Rheui  luteura  caput ;  Sat.  2,  5, 
39  ff.  :  sen  rubra  cauicula  findet  |  infautis  statuas,  seu  pingui 
teutus  omaso  |  Furius  hibernas  cana  uive  conspuet  Alpis. 

The  following  are  good  examples  of  the  heroic  yvtofirj :  Sat.  2, 
2,  135  f.,  quocirca  vivite  fortes  |  fortiaque  adversis  opponite  pec- 
tora  rebus ;  cf.  Eurip.  Belhrophon  frag.  304,  Nauck :  ddpao'i  he 
7rpd<i  ra?  (Tvii^opa<i  \xe<^a  aOevet.  Sat.  1,  9,  59  f.,  nil  sine  magno 
vita  labore  dedit  mortalibus.  The  editors  cite  Soph.  Eledra  945  : 
irovov  Toi  xo^P^'^  ovhev  evTy%et.  Find.  01.  X  (xi),  24  f, ;  Hesiod 
Op.  289  :  rrfi  h^apery)^  iBpcora  Oeol  TrpoirdpoLOev  edrjKav. 

Sat.  2,  S,  65  f.  may  be  cited  as  a  parody  of  philosophic  earnest- 
ness: "haec  est  condicio  vivendi"  aiebat,  "eoque  |  responsura  tuo 
numquam  est  par  fama  labori." 

In  the  close  of  his  culinary  satire  Horace  humorously  parodies 
the  Epicurean  doctrine  of  Lucretius ;  see  Sat.  2,  4,  93  flf.  :  at 
mihi  cura  |  non  mediocris  inest,  fontis  ut  adire  remotos  |  atque 
haurire  queam  vitae  praecepta  beatae;  cf.  I/ucret.  4,  2  f.,  iuvat 
integros  accedere  fontis  |  atque  haurire. 

A  few  less  prominent  examples  are  to  be  found  in  the  Epistles. 
Epj).  2,  2,  91  f.,  each  poet's  exclamation  upon  seeing  the  others 
work:  mirabile  visu  |  caelatumque  novem  Musis  opus!  Epp.  1, 
10,  8  f.,  vivo  et  regno,  simul  ista  reliqui  |  quae  vos  ad  caelum 
effertis  rumore  secundo.  Epp.  2,  1,  109  f.,  puerique  patresque 
severi  I  fronde  comas  vincti  ceuant  et  carmina  dictant. 

Sat.  1,  5,  3  :  Graecorum  longe  doctissimus,  is  a  mock  heroic 
touch.  Note  the  amusing  setting  of  the  archaic  and  epic  formula 
in  Sat.  1,  2,  31  f.,  'macte  |  virtute  esto.' 

Sat.  2,  6,  93  ff.  strongly  recalls  Eurip.  Alkest.  782  ff., 

carpe  viam,  mihi  crede,  comes ;  terrestria  quando 
mortalis  animas  vivunt  sortita  neque  ullast 
aut  magno  aut  parvo  leti  fuga :  quo,  bone,  circa, 
dum  licet,  in  rebus  iucundis  vive  beatus, 
vive,  memor  quam  sis  aevi  brevis. 

/3/30T0t?  diracTi  KarOavelv  6(f)etX€TaL, 
KOVK  eariv  Ovtjtmv  oaTi<i  i^eTriararat 
T7)v  avpLOv  fieWovaav  el  ^iwaerai 


Satires  and  Epistles  of  Horace.  33 

ravT^  ovv  aKovaa^  Kol  fiadcbv  ifiov  irdpa, 
ev(f>paiv€  aavTov,  Trlve,  rov  Kad'  r/fjuepav 
^lov  Xoyi^ov  adv,  to,  8'aWa  tt}?  Tu^?;?. 

In  Sat.  2,  3,  187  ff.,  the  illustration  has  been  taken  bodily, 
names  included,  from  well-known  Homeric  material.  Whilst  the 
subject  matter  is  partly  epic,  the  treatment  is  dramatic,  with 
droll  and  parodic  touch.  Agamemnon  is  throughout  the  haughty 
imperturbable  king.  The  humor  of  the  situation  consists  in 
the  fact  that  the  Stoic  does  not  manifest  the  necessary  humility, 
but  begins  with  easy  and  careless  assurance,  "ne  quis  humasse 
velit  Aiacem,  Atrida,  vetas  cur  ?  "  The  icy  and  crushing  retort 
of  Agamemnon,  "rex  sum,"  falls  on  the  unprepared  Stoic  like  the 
staff  on  the  back  of  Thersites,  and  the  result  here  as  there  is  a 
whimper ;  note  the  humble  and  prostrate  rejoinder,  "  nil  ultra 
quaero  plebeius."  Having  so  effectually  established  his  authority, 
the  king  condescends  to  justify  his  course.  The  Stoic,  however, 
has  learned  his  lesson  so  well  that  he  needs  further  encouragement 
before  he  will  proceed.  This  time  the  comic  effect  is  heightened 
by  the  fact  that  he  mouths  a  verse  of  the  Iliad  (1,  18).  He 
grows  more  fearless  and  dramatic  as  he  proceeds,  but  does  not 
again  drop  into  the  tone  of  vs.  187.  On  vs.  192  Wickham  rightly 
observes  that  part  of  the  humor  consists  in  the  burlesque  mingling 
of  technicalities  of  Roman  life  with  Homeric  echoes.  Note  con- 
sulere — respondere  liceblt,  and  cf.  with  the  Homeric  reminiscence 
of  vss.  191,  193,  and  195.  The  consummate  blend  of  these 
various  elements  makes  this  passage  one  of  the  most  delightful 
bits  in  Horace. 

In  the  same  connection  attention  may  be  called  to  the  dramatic 
elements  of  the  dialogue  between  Stertinius  and  Damasippus  in 
the  early  part  of  this  same  satire. 

In  connection  with  parody,  the  following  cases  should  be  con- 
sidered where  a  contrast,  less  prominent  but  none  the  less  intended, 
occurs  between  short  elevated  passages  and  a  conversational  set- 
ting. These  elevated  passages  frequently  shade  into  the  parodic 
and  poetic. 


34  The  Poetic  Element  in  the 

Sat.  2,  2,  40  f.,  at  vos  |  praesentes,  austri,  coquite  horum 
obsonia.  Note  the  mock  solemnity  of  the  invocation,  and  com- 
pare the  familiar  coquite. 

Sat.  2,  8,  61  IF.,  hen,  Fortnna,  quis  est  crudelior  in  nos  |  te 
dens :  ut  semper  gaudes  inludere  rebns  |  humanis.  Sat.  2,  5, 
101  f.,  ergo  nunc  Dama  sodalis  |  nusquam  est?  unde  mihi  tarn 
fortem  tamque  fidelem? 

In  Sat.  2,  3,  288  ff.,  note  the  elevated  setting  of  the  mother's 
prayer  as  contrasted  with  its  content :  luppiter,  ingentis  qui  das 
adimisque  dolores  |  .  .  .  .  frigida  si  puerum  quartana  reliquerit, 
illo  I  mane  die  quo  tu  indicis  ieiunia  nudus  |  in  Tiberi  stabit. 

Sat.  2,  6,  65  :  o  noctes  cenaeque  deum.  A  playful  reference  to 
the  frugal,  but  satisfying  fare  of  his  country  home.  Cf.  vs.  50  : 
frigidus  a  rostris  manat  per  compita  rumor ;  vs.  86  f.,  cupiens 
varia  fastidia  cena  |  vincere  taugentis  male  singula  dente  superbo. 

Sat.  1,  5,  102  f.,  nee  siquid  miri  faciat  natura  deos  id  |  tristis 
ex  alto  caeli  demittere  tecto.  Here  immediately  Horace  ends 
the  satire  with  the  abrupt :  Brundisium  longae  finis  chartaeque 
viaequest. 

Sat.  1,  2,  119  :  namque  parabilem  amo  Venerem  facilemque. 
Note  the  nasal  assonance  and  fine  caste  of  a  line  occurring  in  a 
passage  which  by  reason  of  its  coarseness  generally  goes  without 
annotation. 

Sat.  2,  3,  87  :  frumenti  quantum  metit  Africa.  Observe  the 
poetic  touch  in  personification  and  in  the  use  of  the  verb  meto  in 
a  transitive  sense. 

Sai.  1,  7,  21  :  in  ius  [  acres  procurrunt.  Cf.  vs.  24  f.,  solem 
Asiae  Brutum  adpellat  stellasque  salubris  |  adpellat  comites.  Sat. 
1,  5,  8  :  ventri  indico  bellum. 

The  ludicrous  eifect  is  frequently  heightened  by  withholding 
the  conversational  element  until  the  end  of  sentence  or  clause. 

Sat.  2,  5,  109  f.,  sed  me  [  imperiosa  trahit  Proserpina  :  vive 
valeque.  A  good  example  is  Sat.  2,  5,  14  :  ante  larem  gustet 
venerabilior  lare  dives.  Sat.  2,  3,  16  f.,  di  te,  Damasippe,  de- 
aeque  |  verum  ob  consilium  donent  tonsore.  Sat.  1,  3,  87  :  cum 
tristes  misero  venere  calendae. 


Satires  and  Epidles  of  Horace.  35 


ELEVATED   PASSAGES. 

In  the  course  of  this  investigation  I  liave  collected  a  number 
of  elevated  citations,  some  of  which  shade  into  the  poetic.  I 
shall  cite  a  few  of  these  Avithout  comment. 

Sat.  2,  3,  222  f.,  quem  cepit  vitrea  fama,  |  hunc  circumtonuit 
gaudens  Bellona  cruentis. 

Many  are  found  in  the  genial  elegance  of  the  epistles.  Epp.  1, 
7,  10  if.  :  quodsi  bruma  nivis  Albanis  inlinet  agris,  |  ad  mare 
descendet  vates  tuns  et  sibi  parcet  |  contractusque  leget :  te,  dulcis 
amice,  reviset  |  cum  zephyris,  si  concedes,  et  hiruudine  prima. 
Here,  inasmuch  as  it  opens  in  the  form  of  an  epistle,  may  be  cited 
Sat.  1,  6,  4  :  olim  qui  magnis  legionibus  imperitareut.  Cartault 
notes  :  style  noble  rappellant  Lucrece  et  Ennius. 

As  we  should  expect,  perhaps  more  of  this  feature  is  discernible 
in  the  epistle  to  Augustus  (2,  1)  than  in  any  other.  The  entire 
introductory  passage  of  twenty -seven  lines  might  be  quoted ;  also 
vss.  132-138  ;  for  instance  vs.  26  f.,  annosa  volumina  vatum  | 
dictitet  Albano  Musas  in  monte  locutas.  Mark  the  elegant  de- 
scription of  early  rural  simplicity,  with  its  characteristic  Fescennina 
licentia,  vss.  139-150. 

Vss.  156  f,  Graecia  capta  ferum  victorem  cepit  et  artis  |  intulit 
agresti  Latio.  Note  in  vss.  190  if.,  the  rapid  and  mocking  lines 
descriptive  of  the  new  complexion  of  the  drama  :  dum  fugiunt 
equitum  turmae  peditumque  catervae ;  |  mox  trahitur  manibus  re- 
gum  fortuna  retortis,  |  esseda  festinant,  pilenta,  petorrita,  naves,  | 
captivum  portatur  ebur,  captiva  Corinthus. 

Vss.  216  ff.  :  curam  redde  brevem,  si  munus  Apolliue  dignum  | 
vis  conplere  libris  et  vatibus  addere  calcar,  |  ut  studio  maiore 
petant  Helicona  virentem. 

In  accordance  with  Horace's  own  dictum,  A.  P.  45  if.,  we 
observe  many  passages  where  the  elegance  turns  upon  the  felicitous 
choice  of  a  word  or  brief  phrase.  Such  passages  are  found  in 
most  of  tlie  categories  cited.     The  following  are  good  examples. 

Epp.  1,  10,  26  f.,  non  qui  Sidonio  contendere  callidus  ostro 


36  The  Poetic  Element  in  the 

nescit  Aquinatem  potantia  vellera  fucum.  Sat.  2,  1,  61  f.,  maio- 
runi  nequis  amicus  |  frigore  te  feriat.  Epp.  1,  18,  103  :  an 
secretum  iter  et  falleutis  semita  vitae.  Epp.  1,  1,  51  :  cui  sit 
condicio  diilcis  sine  pulverc  pabnae.  Sat.  2,  6,  67  if. :  prout  cuique 
libidost  I  siccat  inaequalis  calices  con  viva  solutus  |  legibus  insauis, 
seu  qiiis  capit  aeria  foHis  \  pocula  seu  modicis  iuvescit  laetius. 
Epp.  1,  16,  11:  dicas  adductum  propiiis  frondere  Tarentum. 
Mark  the  personification  in  Ej^p.  1,  11,  15:  nee  si  te  validus 
iactaverit  auster  in  alto.  Ejyp.  1,  2,  6  f.,  fabula,  qua  Paridis 
propter  narratur  amorem  |  Graecia  barbariae  lento  collisa  duello. 
Sat.  1,  6,  28  :  et  latum  demisit  pectore  clavum.  Epp.  2,  1,  225  : 
tenui  deducta  poemata /z^o. 


POETIC   KEMINISCENCE. 

This  study  would  be  incomplete  without  some  attention  to  poetic 
reminiscence,  of  which  there  is  so  much  in  Horace.  Under  this 
head  I  have  made  very  large  use  of  the  editions  which  have 
generally  given  more  attention  to  this  phase  of  the  subject  than 
to  any  other. 

As  would  be  expected  there  is  more  reminiscence  of  Homer  than 
of  any  other  Greek  poet  (poet  in  the  sense  of  this  investigation). 
Homeric  reminiscence  has  been  treated  for  the  odes  and  epodes  by 
A.  Paskiewicz,^  and  more  generally  by  J.  Tolkiehn.^  It  is  fre- 
quently difficult  to  say  whether  a  given  example  should  be  classed 
here  or  under  parody,  just  as  no  full  conception  of  the  extent  of 
Homeric  reminiscence  in  Horace  is  obtainable  if  the  parodic  side 
be  ignored.  The  following  examples  therefore  should  be  carefully 
compared  with  those  cited  under  Parody. 

We  shall  note  first  actual  translations.  Epp.  1,  2,  19  ff.,  is  a 
free  translation  of  the  first  five  lines  of  the  Odyssey :  qui  domitor 
Troiae  multorum  providus  urbis  |  et  mores  hominum  inspexit  la- 
tumque  per  aequor,  |  dum  sibi,  dum  sociis  reditum  parat,  aspera 
multa  I  pertulit,  adversis  rerum  immersabilis  undis. 

^  De  Horatio  Homeri  Imitatore,  Lemberg,  1888. 
^  Homer  und  die  romi^cM  Poesie,  Leipzig,  1900, 


Satires  and  Epidhs  of  Horace.  37 

Another  translation  of  the  opening  lines  of  the  Odyssey  occurs 
in  A.  P.  141  f.,  die  mihi,  Musa,  virum,  captae  post  moenia 
Troiae  I  qui  mores  hominuni  mnltorum  vidit  et  urbis. 

Note  a  paraphrase  in  Epp.  1,  7,  41  ff.  :  non  est  aptus  eqnis 
Ithace  locus,  ut  neque  plan  is  |  porrectus  spatiis  nee  multae  i)ro- 
digus  herbae :  |  Atride,  magis  apta  tibi  tua  dona  relinquam.  Cf. 
Odyss.  4,  601  If.  :  rTTTroi"?  S'  ew  'IdaKi^v  ouk  a^ofxai,  aXka  aoX 
avru)  I  iv6dSe  Xeiyfrco  ayaX/Jia  •  av  yap  irehtOLO  avdcra-ei,^  |  evpeo'i, 
iv  8'  'Wdicr}   ovT    dp  Spofxoc  evp€e<;   ovTe  tl  Xeifxwv. 

In  A.  P.  137  we  have  a  single  line  translated  from  a  cyclic 
poet :  fortunam  Priami  cantabo  et  nobile  bellum. 

The  relation  of  Horace  to  Homer  can  best  be  appreciated  by 
observing  his  ontliue  of  his  reading  of  that  author  addressed  to 
LoUius  in  the  second  epistle  of  the  first  book.  The  outline  occupies 
a  considerable  portion  of  the  epistle.  The  opening  verses  may  be 
quoted : 

Troiani  belli  scriptorem,  Maxime  LoUi 

dum  tu  declamas  Ilomae,  Praeneste  relegi : 

qui  qnid  sit  pnlchrum,  quid  turpe,  quid  ntile,  quid  non, 

planius  ac  melius  Chrysippo  et  Crantore  dicit. 

cur  ita  crediderim,  nisi  quid  te  distinct,  audi. 

In  the  following  there  is  strong  suggestion  of  definite  Homeric 
phraseology. 

Sat.  2,  3,  191  :  di  tibi  deut  capta  classem  redducere  Troia. 
Cf.  II.  1,  18  f.,  vfilv  iiev  deal  Solev  'OXvfiTna  Scofiar  exovre;  \ 
eKirepaaL  Upcdfioto  ttoXlv,  iv  8'  oiKaS'  l/ceadaL.^ 

Sat.  2,  3,  195  :  gaudeat  ut  populus  Priami  Priamusque  inhu- 
mato, — is  almost  a  translation  of  11.  1,  255,  though  the  subject 
matter  differs  :  ^  k€v  <y'q6r]aaL  IlpiaiJio<i   UpLafj-oio  re  TratSe?. 

Sat.  1,  2,  32  :  inquit  sententia  dia  Catonis.  Cf.  such  well- 
know^n  Homeric  phrases  as  fiJ)vc<i  'A%iX>}o<?  and  k  TeXefxdxoto. 

Sat.  2,  1,  26  f..  Castor  gaudet  equis,  ovo  prognatus  eodem  | 
pugnis.  Cf.  It.  3,  237  :  Kdaropd  6' iTrirdSafMOV  koI  ttv^  ayaOov 
TIoXvSevKea. 

'  See  Tolkiehn,  1.  c,  p.  47,  note  1. 


38  The  Poetic  Element  in  the 

Sat.  2,  5,  18  f.,  hand  ita  Troise  |  me  gessi,  certans  semper  meli- 
oribus.  Wickbam^  following  Palmer,  thinks  it  probable  that  we 
here  have  an  Homeric  echo.  Cf.  II.  21,  486  :  Kpeiaa-oaiv  i(f)t 
fid)(^€aOaL. 

Epp.  1,  IS,  71  :  et  semel  emissum  volat  inrevocabile  verbum. 
Cf.  II.  4,  350  :  TTolov  ae  eiro'i  cfivyev  epKo<i  ohovroov.  Cf.  also  A. 
P.  390  :  nescit  vox  missa  reverti. 

Epp.  2,  2,  41  f.,  atque  doceri  |  iratus  Grais  quantum  uocuisset 

Achilles,      Cf.  II.  1,  1  ff.,  h-yjvlv  aeihe, rj  /xvpC  'A^atoZ? 

aXye'  eOrjKe. 

A.  P.  120  if.  :  houoratum  si  forte  reponis  Achillem,  |  inpiger, 
iracundus,  inexorabilis  acer  |  iura  neget  sibi  nata.  Note  the  trans- 
lation of  Homeric  epithets.^  AVith  honoratus  cf.  ayavd';,  /cXuro'?. 
For  iracundus,  acer  see  II.  20,  467  f.,  ov  <ydp  re  <yXvKv$vp,o<i  avrjp 
fjv  ov8'  ayavoc^puiv,  |  aWa  /xdX'  e/ji,/ji6iJ.ad)<;.  Impiger  recalls  the 
words  of  Achilles  himself  in  //.  1,  165  f,  dWa  ro  jxev  irkelov 
'iro\vdlKO<i  TToXe/jLoio  |  ')(^eipe<;  ifial  Bierrova.  For  inexorabilis  see 
11.  11,  636.  The  words  iura  neget  sibi  nata  suggest  II.  1,  295  f., 
dWoKTLv  Srj  TavT  eVtreXXeo,  /xr]  yap  ifxoL  <ye  I  aTjfxaiv'-  ov  yap 
iyco  7'   €Ti  aoL  irelcreaOai  otco. 

Sat.  2,  3,  213  :  et  purum  est  vitio  tibi  cum  tumidum  est  cor? 
Orelli  regards  this  verse  as  an  Homeric  echo.  Cf.  II.  9,  646  : 
aWa  fjLOL  oiSdverac  Kpahirj  '^dXa>, 

Sat.  2,  3,  193  :  Aiax,  heros  ab  Achille  secundus.  Cf.  II.  2,  768 
f.,  dvSpcov  av  fiiy  dpiaro^;  eijv  Te\afi(ovio<i  At'a?  j  o^/a'  ^A^iXev^ 
fir)VLev  '   0  yap  ttoXv  (pe'praro^  -qev. 

Sat.  1,  3,  26  f.,  cur  in  amicorum  vitiis  tam  cernis  acutum  | 
quam  aut  aquila  aut  serpens  Epidaurius?  Cf.  //.  17,  674  f.,  m? 
Tatero<i,  bv  pd  re  ^aaiv  |  o^vrarov  SepKeaOai  inrovpavLcov  TreTerjvSiv. 

Sat.  2,  3,  197  :  inclutum  Ulixeu.  Fritzsche  notes  that  inclutus 
is  dira^  elp.  for  Horace.  Here  he  believes  it  represents  the  frequent 
Homeric  epithet  SovpiKXvro^;. 

Epp.  1,  2,  39  :  est  animum.  Cf.  II.  6,  207  :  ov  Ovjxov  KareBcov. 
See  also  Cicero's  translation,  Tusc.  3,  63  :  ipse  suum  cor  edens. 

^  Interesting  is  the  comparison  of  these  epithets  in  Roman  literature  ;  see  Diehl 
in  the  Thesaurus,  s.  v.  Achilles.  Those  from  Homer  are  collected  in  Roscher's 
Lexicon. 


Satires  and  Epistles  of  Horace.  39 

With  respect  to  the  Odyssey  we  will  cite  first  from  Sat.  2,  5, 
which  draws  largely  from  the  Ne/cuta.^ 

Sat.  2,  5,  1  f.,  Hoc  quoqne,  Tiresia,  praeter  narrata  petenti  | 
responde.  Cf.  Odyss.  11,  1 40  :  aXX'  ar^e  (jlol  toSc  elnre  koX  UTpe- 
K€(0(;  KaraXe^ov.  Verse  2  f.  has  in  mind  the  loss  of  ships  and 
companions,  and  the  state  of  affairs  at  home;  see  Odyss.  11,  112, 
and  compare  vs.  6  :  nudus  inopsque.  Dolosus  of  vs.  3  suggests 
the  standing  epithets  TroXu/iT/^ayo?,  TroXv/jbrjTi'i,  7roiKi\ofi'qTi]<;,  etc. 

Vs.  4  f.,  non  satis  est  Ithacam  revehi  patriosque  penatis  |  aspi- 
cere?  Cf.  Odyss.  1,  58  f.,  lefi€vo<;  koI  Kairvov  airodpcoaKOVTa 
vorjaai  |  ^?   <yair]<i   daveeiv  Ifiecperai. 

Epp.  1,  2,  25  :  turpis  et  excors,  is  cited  by  Lambinus  as  an 
echo  of  Odyss.  10,  301  :  KaKov  koI  avr^vopa. 

Sat.  2,  6,  40  :  septimus  octavo  propior  iam  fugerit  annus.  Cf. 
Odyss.  2,  89  :   ijSr}  ryap  rplrov  earlv  era,   Tci'^^a  8'  eiat  reraprov. 

Owing  to  its  subject  we  find  in  Epp,  1,  2  much  mention  of 
Homeric  themes  taken  alike  from  the  Iliad  and  Odyssey.  In  vss. 
9  we  have  a  reference  to  Antenor's  effort  to  close  the  war  by  the 
return  of  Helen  ;  in  vs.  10  the  refusal  of  Paris  with  the  com- 
mentary of  Horace  upon  II.  7,  362  :  avriKpm  S'  cnro^T^piL,  jvvaiKa 
fiev  ovK  airoStoa-Q).  With  vs.  20  :  latumque  per  aequor,  cf.  II.  2, 
159  :  eV  evpea  vcara  0a\daar]<i.  Odyss.  4,  313.  With  vs.  27  : 
fruges  consumere  nati,  cf.  II.  6,  142  :  el  8e  rt?  eaai  ^porwv,  o? 
apovpr]<i  tcapirov  eSovaiv. 

In  his  reference  to  Circe,  vs.  24  :  sub  domina  meretrice  fuisset 
turpis  et  excors,  Horace  departs  from  Odyss.  10.  240  :  avrap  i/oO? 
^v  e/A7re8o9,  m  to  irdpa  irep.  Other  references  are  to  Nestor,^ 
vs.  11  f. ;  to  Ulysses,^  vs.  19  if. ;  to  the  Sirens,^  vs.  23  ;  to  Alci- 
nous  ^  and  the  suitors  of  Penelope,  vs.  28  ff. 

In  Sat.  1,  8,  Horace  again  draws  upon  the  'Ne'/cvLa.  Vs.  26  ff. : 
scalpere  terram  |  unguibus  et  pullam  divellere  mordicus  agnam  | 
coeperunt :  cruor  in  fossam  confusus,  ut  inde  |  manis  elicerent 
animas  responsa  daturas.  Cf.  the  Odyss.  11,  35ff.  :  ra  8e  ixrjXa 
Xa^mv  airehetpoToiirjcra  |  eV  ^odpov,  pee  8'  alfxa  K€\aiV€(f)e<;  •  ai  S' 


»  See  Tolkiehn,  1.  c,  p.  140  f.  Ul  1,  247  ff.  ;  /L  1,  113  i?. 

s  Odyss.  1,  2  ff.  *  Odyss.  12,  39  ff.,  and  166  ff. 

6  Odyss,  8,  248  ff. 


40  Tlie  Poetic  Element  in  the 

ayepovTO  |  'v^v;j^ai  vTref  ipefiev^  veKvoov  KaraTeOvr^wTCOv.      Vs.  41  : 

umbrae resouarint  triste  et  acutum.      Cf.  Odyss.  24.  5  : 

ral  he  Tpi^ovaai   eirovro. 

Epp.  1,  6,  63  f.,  remigium  vitiosum  Ithacensis  Ulixi,  |  ciii  potior 
patria  fuit  interdicta  voluptas.     Cf.  Odyss.  12,  271  if. 

In  many  brief  references  Homer  serves  as  a  book  of  texts  for 
didactic  treatment,  so  that  we  may  class  generally  and  broadly 
under  epic  and  mythical  content.  Some  of  these  epic  characters 
appear  so  frequently  in  subsequent  literature  as  to  make  it  impos- 
sible to  say  whether  Horace  went  back  even  in  thought  to  Homeric 
originals.  See  the  allusions  to  Proteus,  Sat.  2,  3,  71  ;  Tantalus, 
Sat.  1,1,  QS;  Sisyphus,  Sat.  2,  3,  21;  the  Harpies,  Sat.  2,  2, 
40  ff. ;  Telephus  and  Peleus,  A.  P.  96  ;  Lynceus,  Epp.  1,  1,  28  ; 
Antipliates,  Polyphemus,  Scylla  and  Charybdis,  Diomedes  and 
Meleager,  A.  P.  145  fP. 

Epp.  1,  1,  1,  prima  dicte  mihi,  sumnia  dicenda  Camena.     Cf. 

Hymn  to  Apollo,  21,  3  f.,  ere  8'   aoiSd<; ■^SucTrr/?  irpSiTov 

re  Koi  vararov  alev  aeiSet.  The  thought,  however,  occurs  else- 
where.    Cf.  Theoc.  17,  3  ;  Verg.  Ed.  8,  11. 

A  probable  reminiscence  of  Hesiod  appears  in  Sat.  1,  9,  59  f., 
nil  sine  magno  |  vita  labore  dedit  mortalibus.  Cf.  Hesiod,  Op. 
289  :   ri]^   8'  aperrj^   ISpcora  6eol  irpoTrdpoiOev  eOrjicav. 

Epp.  1,  6,  65  f.,  si,  Mimnermus  uti  censet,  sine  amore  iocis- 
que  I  nil  est  iucuudum,  vivas  in  amore  iocisque.  We  have  here 
the  sense  of  Mimnermus,  frag.  1  :  rt?  he  l3io<;,  tl  he  repirvov  cirep 
'X^pvarj'i   ''Acfipohirrj'i. 

With  A.  P.  63  :  debemur  morti  nos  nostraque,  cf.  Simonides, 
frag.  123,  Bergk  :   Oavdro)  Trayre?  oc^eCkojieOa. 

Ep)p.  1,  18,  76  ;  qualem  commendes  etiam  atque  etiam  adspice. 
Cf.  Theognis  963  :  p.rjiroT  iTraiv^crrj^,  irpXv  dv  elhrj^  dvhpa 
(7a(}>rjV€Q}'i . 

Epp.  1,  12,  4  ff.  :  pauper  enim  non  est  cui  rerum  suppetit 
usus.  I  si  ventri  bene,  si  lateri  est  pedibusque  tuis,  nil  |  divitiae 
poterunt  regales  addere  mains.  Cf.  a  fragment  variously  cited 
from  Theognis  and  Solon ;  ^  see  Bergk,  Solon  24  :  laov  rot  irXov- 

'  The  evidence  favors  Solon  ;  see  Plut.  vit.  Sol.,  c.  2. 


Satires  and  Epistles  of  Horace.  41 

Tovatv,  orw  ttoXis  ap<yvp6<i  ecrnv  |  koX  xP^'^^^  '^^''  7*7?  irvpo^opov 
irehia  I  Xiriroi  d^rifiLOVOi  re,  Kal  c5  fjbova  ravra  irdpearLV  |  <ya<npi 
re  Kal  TrXeup^?  koI  ttoo-Iv  a^pa  iradelv. 

Epp.  1,  1,  46  :  per  mare  pauperiem  fugicns,  per  saxa,  per  ignis. 
Cf.  Theognis  175  f.,  riv  Stj  (irevL-nv)  XRV  (fievyovra  Kal  e?  jSaOvKrjTea 
TTOvrov  I  piTTTeiv,   Kal  Trerpecov,   Kvpve,  Kar    rfki^dTwv. 

Sat.  1,  1,  106  :  est  modus  in  rebus.  For  the  thought,  see  Pin- 
dar, 01.  13,  47  :  eTrerai.  8'  eV  eKaaTw  jxerpov.  Sat.  1,  3,  56  :  atque 
sincerum  cupimus  vas  incrustare.  Epp.  1,  2,  54:  sincerum  est 
nisi  vas.     Cf.  Find.  01.  1,  26  :  KaOapov  Xe/ST/TO?. 

Without  pausing  to  discuss  the  general  discussions  of  tragedy  in 
the  Ars  Poetica,  we  will  cite  several  reminiscences  of  particular 
passages.^ 

Epp.  1,  6,  36  if.  :  scilicet  uxorem  cum  dote  fidemque  et  amicos  | 
et  genus  et  formam  regina  Fecuuia  donat  |  ac  bene  nummatum 
decorat  Suadela  Venusque.  This  passage  is  as  Kiessling  notes  a 
free  putting  of  Soph.  Aleadae,  frag.  86,  Nauck :  ra  xPVH'f^T' 
avOpwiroLaLV  evpiaKet  (f)L\ov<i,  |  avOi^   Se   Tiixd<i,   elra  rr)?  vTreprd- 

tt;?  I    TvpavvtSo'i    OaKovacv    alcrx^arrjv    eSpav.  | ttXouto? 

Kal  yap  SucreiSe?   aoiixa  Kal  Bvad)vvfiov  |  yXcoaar]  ao(f)OV 

TiOrjatv  evp-op^ov  rlSelv. 

Ejjp.  1,  6,  24  f.,  quidquid  sub  terra  est,  in  apricum  proferet 
aetas,  |  defodiet  condetque  nltentia.  Cf.  Soph.  Aiax,  646  f.,  diravd^ 
6  fiaKp6<i  K  avapiOixr^TO^  ;^/30j'0«?  |  <^u€t  t'  dSrjXa  Kal  (fyavevra 
KpvTrrerai. 

Sat.  1,  1,  99  f.,  at  hunc  llberta  securi  |  divlsit  medium,  fortis- 
slma  Tyndaridarum.     Cf.  Soph.  Electra  97  ff.,  Mrvp  8'  VM  X^ 

KOLVOkexh'i    I  "AyL(Tdo<;,   OTTft)?   SpVV  vkOTOp^Ot,    \    (TX^^OVai  Kdpa  <^OVL(p 

ireXeKei. 

Sat.  2,  5,  5  :  o  nulli  quicquam  mentite.  Cf.  Soph.  Oed.  Tyr. 
299  :  raXi^dh  e/iTrec^u/cei;  avOpwirwv  fiovw.    Cf.  also  Aniig.  1092  if., 

eTnard/JieaOa    S" fi^    ttco    ttot     avrov    -v/reOSo?    e<?   ttoXlv 

XaK€iv. 

In  Epp.  1,  18,  41  if.  Horace  has  evidently  the  Antiope  of  Euri- 
pides in  mind;  see  Nauck  184  and  especially  188. 

*  One  of  the  best,  the  reminiscence  of  Eurip.  Alkest.  784  ff.  in  Sat.  2,  6,  93  ff., 
has  been  cited  under  parody  ;  see  p.  32. 


42  The  Poetic  Element  in  the 

Epp.  2,  2,  178  f.,  si  metit  Orcus  |  graudia  cum  parvis.  Cf. 
Eui'ip.  Hypsipyle,  Nauck  757  :  avayKaco}';  S'e%ei  fiiov  Oepi^eiv 
QXTTe  KapTTLfJiOV  (Tjd'yyv. 

Epp.  1,  16,  73  ff.,  is  a  paraphrase  of  Eurip.  Bacch.  492  ff.  : 

'  Pentheu, 
rector  Thebarum,  quid  me  perferre  patique 
indignum  coges  ? '   '  adimam  bona.'     '  nempe  pecus,  rem, 
lectos,  argeutum.    tollas  licet.'     '  in  mauicis  et 
compedibus  saevo  te  sub  custode  tenebo.' 
'  ipse  deus,  simul  at  que  volam,  me  sol  vet.' 

AI  e^^'  OTL  iraOelv  hel  •  tC  fxe  to  heivov  epydaei ; 

HE.  TrpcoTOv  fiev  a^pov  j36arpv')(^ov  reixo)  aeOev. 

AI.  lepb^  6  TrXoKa/xo^  •  ru)  $e(p  S^avrov  Tpe(f)(i)  • 

TIE.  eirura  Ovpcrov  rovhe  irapaSo^  Ik  ')(epolv. 

AI.  avr6<i  fJL   a<f>aLpov  •  rovhe  Aiovvaov  (popco. 

HE.  elpKTalai  Tevhov  acofia  crov  (f)v\d^ofxev. 

AI.  \v(T€i  fx   6  SaL/xcov  avTo^i,  orav  ijo)  6e\a>. 

Epp.  1,  1,  34  f.,  sunt  verba  et  voces,  quibus  hunc  lenire  dolo- 
rem  |  possis  et  magnam  morbi  deponere  partem.  Cf.  Eurip. 
Hippol.  478  f.,  elcrlv  h^eirwhaX  koI  XoyoL  OeKKTripioL  •  |  (pavr^crerai 
Ti  rrjahe  cfidpfMaKov  voaov. 

Epp.  2,  1,  32  :  venimus  ad  summum  fortunae.  Cf.  Eurip. 
Antig.,  Nauck,  frag.  169:  eir  aKpav  ^KOfxev  ypap.fi'qv  kukmv. 
For  the  thought  cf  again  Epp.  1,  16,  78  ;  Eurip.  Electra  945. 

In  some  few  other  cases  Horace  employs  tragic  material,  draw- 
ing his  examples  largely  from  Sophocles  and  Euripides.  Sat.  2, 
3,  132  ff.  centers  about  the  Orestes  story.  A.  P.  185  ff.  cites 
Medea,  Procne,  Atreus,  and  Cadmus.  Cf  A.  P.  123  f ,  sit  Medea 
ferox  invictaque,  flebilis  Ino,  |  perfidus  Ixion,  lo  vaga,  tristis 
Orestes. 

Sat.  2,  3,  303  f.,  '  quid  ?  caput  abscissum  manibus  cum  portat 
Agaue  I  gnati  infelicis.  sibi  tum  furiosa  videtur?'  Cf.  Eurip. 
Bacch.  1139  ff.;  1277;  1280;  968.^ 

'  For  further  reminiscence  of  Euripides,  see  under  parody,  p.  32. 


Satires  and  Epistles  of  Horace.  43 

A  few  small  phrases  are  suggestive  of  Theocritus,  though  not 
convincing. 

Epp.  2,  2,  51  f.,  paupertas  inpulit,  audax  ut  versus  facerem. 
Cf.  Theoc.  21,  1  :  a  irevia  fiova  ra^  Texva<;  iyeipCL.  The  thought, 
however,  is  common  enough;  see  Plaut.  Stich.  178. 

Sat.  1,  1,  4:  gmvis  annis,  recalls  Theoc.  24,  100:  Tetpeo-ia? 
TToWolaL  fiapjk  irep  ewv  ivLavToif. 

Sat.  1,  7,  26:  invisum  agricolis  sidus.  Cf.  Theoc.  25,  168: 
KUKov  re/aa?  ajpoicorai^.  Sat.  2,  3,  135  :  malis  furiis.  Cf.  Theoc. 
2,  136  :  KaKal<;  pLavLaL<i. 

Sat.  1,  4,  89  :  condita  cum  verax  aperit  praecordia  Liber.  Cf. 
Theoc.  29,  1  :  Oho^,  w  (f)L\e  iral,  Xejerac  Kal  akddea.  Cf. 
Alcaeus,  frag.  53  (Bergk),  olva  yap  avdpdmoLaL  hiOTrrpov.  Theog. 
500  :  avhp6<i  S'oho'i  e8ei|e  voov. 

Many  examples  are  cited  by  Fritzsche,  who,  however,  bemg  the 
editor  of  both  authors  is  inclined  to  attach  too  much  importance 
to  parallels. 

Sat.  1,  10,  33  :  post  mediam  noctem  visus,  cum  somnia  vera. 
Cf.  Moschus  1,  2f.,  vvKTO^  ore  Tpirarov  Xdxo'i  la-raraL,  iyyvOt 
§'77(09,  I  evTC  Kol  arpeKecov  TroLfiaLveraL  edvo<i  oveipcov. 

In  Sat.  1,  2,  105  If.,  Horace  employs  Callimachus  Epig.  31  : 

leporem  venator  ut  alta 
in  nive  sectetur,  positum  sic  tangere  nolit, 
cantat,  et  adponit  '  mens  est  amor  huic  similis :  nam 
trausvolat  in  medio  posita  et  fugientia  captat.' 

'Q.ypevTrj<i,  'ETTi'/cuSe?,  eV  ovpeai  TrdvTa  Xaycoov 
S(0a  Kal  TracTT;?  cx^i-a  8opKa\L8o<;, 
artfiy  Kal  vi^erw  /ce^pTj/^eVo?  •  rjv  Be  T19  eLirrj 
V77,  To'Se  jBejSXrjTaL  dr^piov ,  ovk  eXa/Sev. 
yovjxo'i  €pco<;  ToloaSe  '  to,  fiev  (fievyovra  SiooKeLP 
olSe,  TO,  B'iv  fxeaaa)  Keifieva  TrapTrerajai. 

Sat.  1,  4,  11  :  cum  flueret  lutulentus,  erat  quod  tollere  velles. 
Cf.  Sat.  1,  10,  50  f.,  at  dixi  fluere  hunc  lutulentum,  saepe  feren- 
tem  1  plura  quidem  tollenda  relinquendis.  Thus  Callimachus  of 
his  enemy  Apollonius,  in  Apoll.  108  f., '  Aaavpiov  iroTafioio  /teya? 


44  The  Poetic  Element  in  the 

poo<i  •  aXXa  ra  ttoWo.  |  Xvfxara  7779  Kal  ttoWov  e^'  vSari  crv^i(^erdv 
eXicet. 

Epp.  1,  7,  44  :  parvum  parva  decent.  Orelli  compares  Callim. 
Epig,,  frag.  179  :   alel  toI<;  ^iCkkol';  iXLKKa  SlSovctl  deoC. 

Let  us  turn  to  the  Latin  poets.  Here  clear  cases  of  remi- 
niscence are  not  so  numerous. 

According  to  Porphyrio,  and  Servius  on  Verg.  7,  622,  we  have 
in  Sat.  1,  4,  60  f.,  a  citation  from  Eunius  (Vahlen  A.  266). 
Compare  the  other  reminiscence  cited  under  parody,  p.  31. 

Sat.  2,  1,  42  f.,  o  pater  et  rex  |  luppiter,  ut  pereat  positum 
robigine  telum.  Foremost  in  the  mind  of  Horace  was  probably 
Catul.  66,  48  :  luppiter,  ut  Chalybon  omue  genus  pereat.  The 
Catullus  passage  may  be  a  reminiscence  of  Callimachus  Epig. 
frag.  35  c  (Schneider)  :  XaXv^cov  &)?  airoXotTO  yevo'i.  Cf.  Theog. 
894  :  ft)9  8rj  J^v\fr€\i8e(ov  Zeu?  oXeaeie  ^evo<i. 

Epp.  2,  1,  270  :  et  piper  et  quidquid  chartis  amicitur  ineptis. 
Cf.  Catul.  95,  7  f.,  at  Volusi  annales  Paduam  morientur  ad 
ipsam  I  et  laxas  scombris  saepe  dabunt  tunicas. 

In  Sat.  1,  3,  99  ff.,  Horace  essays  in  a  strong  passage  to  repro- 
duce the  philosophy  of  Lucretius  5,  795  if.,  a  few  extracts  may  be 
compared. 

Vs.  100 :  glandem  atque  cubilia  propter.  Cf.  Lucret.,  vs. 
939  f.,  glandiferas  inter  curabant  corpora  quercus  |  plerumque. 
Cf.  esp.  Juvenal  6,  10 :  et  saepe  horridior  glandem  ructcnte 
marito. 

Vs.  99  :  cum  prorepserunt  primis  animalia  terris.  Cf.  Lucret., 
vs.  932  :  volgivago  vitam  tractabunt  more  ferarum.  With  cubilia, 
vs.  100,  cf  Lucret.,  vs.  970,  where  is  described  the  rude  couch 
of  leaves,  the  only  resting  place  of  primitive  man. 

Vss.  101  f.,  unguibus  et  pugnis,  dein  fiistibus,  atque  ita  porro  | 
pugnabant  armis.  Cf.  Lucret.,  vs.  1283  f.,  arma  antiqua  manus 
ungues  dentesque  fuerunt  |  et  lapides  et  item  silvarum  fragmina 
rami. 

Vss.  103  f.,  donee  verba,  quibus  voces  sensusque  notarent,  | 
nomina  invenere.  Cf.  Lucret.,  vss.  1087  ff.  :  ergo  si  varii  sensus 
animalia  coguut,  |  muta  tamen  cum  sint,  varias  emittere  voces,  | 
quanto  mortalis  magis  aecumst  tum  potuisse  |  dissimiles  alia  atque 


Satires  and  Epistles  of  Horace.  45 

alia  res  voce  iiotare?     Cf.  also  vs.  1058:  pro  vario  sensu  varia 
res  voce  notaret  ? 

Vs.  105:  oppida  coepenmt  mimirc.  Cf.  Lucret.  1108  :  coudere 
coeperuut  iirbis  arceinquc  locare. 

Sat.  1,  1,  1171f.  :  inde  fit,  ut  raro,  qui  se  vixisse  beatum  | 
dicat  ct  exacto  coutentus  tempore  vita  |  cedat  uti  conviva  satur, 
reperire  queamus.  Cf.  Lucret.  3,  938  f.,  cur  uou  ut  plenus  vitae 
couviva  recedis,  |  aequo  animoque  capis  securam,  stulte,  quietem? 
Cf.  also  Lucret.  3,  959  f. 

Sat.  1,  8,  46  :  displosa  vesica,  is  a  possible  reminiscence  of 
Lucret.  6,  130  :  cum  plena  animae  vesicula  parva  |  saepe  ita  det 
torvum  sonitum  displosa  repeute.  See  the  notes  of  Wickham  and 
Kiessling. 

Sat.  1,  6,  4 :  magnis  legionibus  imperitarent.  Cf.  Lucret.  3, 
1028  :  magnis  qui  gentibus  imperitarunt ;  a  characteristic  Lucre- 
tian  rhythm. 

Sat.  1,  1,  13  :  cetera  de  genere  hoc.  Orelli  notes:  "Transitus 
est  Lucretianus."    Cf.  Lucret.  4,  590;  4,  462;  5,  37;  5,  164. 

Sat.  I,  9,  24  :  membra  movere  moUius.  Cf.  Lucret.  4,  789 ; 
980  :  mollia  membra  moventis. 

Sat.  2,  2,  67  :  dum  munia  didit;  a  Lucretiau  word.  See 
Lucret.  2,  1136,  3,  245  ;  3,  707  ;  4,  240  ;  629  ;  955. 


BIBLIOGRAPHY. 


The  following  were  the  principal  editions  and  scholia  employed : 

Hauthal,   F.      Acronis    et  Porphyrionis    Commentarii    in    Q. 
Horatium  Flaccum,  vol.  2.     Berlin,  1866. 

Keller  and  Holder.    Quinti  Horati  Flacci  Opera  Omnia.    Leip- 
zig, 1869. 

Bentley,  R.     Third  Edition.     Berlin,  1869. 

Fritzsche,  A.   T.    H.      Des   Q.   Horatius    Flaccus   Serraouen. 
Leipzig,  1875. 

Keller,  O.     Epilegomena  zu  Horaz.     Leipzig,  1880. 

Schiitz,  H.     Satiren.     Berlin,  1881  ;  Episteln.    Berlin,  1883. 

Kiessling,  A.     Q.  Horatius  Flaccus'  Briefe.     Berlin,  1889. 

Wickham,  E.  C.     Quinti  Horati  Flacci  Opera  Omnia,  vol.  ii. 
Oxford,  1891. 

Orelli-Mewes.     Q.  Horatius  Flaccus,  vol.  ii.     Berlin,  1892. 

Mueller,  L.    Satiren  und  Episteln  des  Horaz.     I  Theil :  Satiren. 
Wien,  1891.     II  Theil  :  Episteln.     Wien,  1893. 

Keller  and  Holder.    Scholia  Antiqua  in  Q.  Horatium  Flaccum. 
Innsbruck,  1894. 

Kiessling,  A.     Q.  Horatius  Flaccus'  Satiren.     Zweite  Auflage. 
Berlin,  1895. 

General  Works. 

Ribbeck,  O.     Geschichte  der  romischen  Dichtung.     Stuttgart, 
1889. 

Schanz,   M.      Geschichte   der   romischen    Litteratur.      Zweite 
Auflage.     Miinchen,  1899. 

Sellar,  W.  Y.     Horace  and  the  Elegiac  Poets.     Oxford,  1892. 

Teuffel.     History  of  Roman  Literature.     Translation  of  Geo. 
C.  W.  Warr.     London,  1891. 
46 


Bibliography.  47 


,  1 


Special  Treatises. 

Aue,  A.     De  Q.   Horatii   Flticci   ingenio  poctico   nioribusque 
ingenuis.     Vindobonae,  1870. 

Backer.      Die    Metaphern    iu  den    Satircn  des  Horaz.      Pro- 
gramm.     StraLsuud,  1883. 

Beste,  G.     De  generis  dieendi  inter  Horatii  carmina  sermo- 
nesque  discrimine.     Monasterii,  1876. 

Brand,  E.     Intersitne  aliquid  inter  Q.  Horatii  Flacci  satiras  et 
eiusdem  epistolas,  et  quid  id  sit,  quaeritur.     Czernowitz,  1874. 

Buys.     Horaz  und  die  Natur :  ein  Beitrag  zur  Untersuchung 
iiber  das  Natnrgefiihl  der  Alten.     Prograram.     Bonn,  1872. 

Cartault,  A.     fitude  sur  les  Satires  d'Horace.     University  de 
Paris.     Bibliotheque  de  la  Facult6  des  Lettres.     ix  (1899). 

Hauna,  F.     Ueber  den  apologetischen   Charakter  der  horaz- 
ischen  Satiren.     Programm.     Nikolsburg,  1878. 

Hawrlaut,    F.      Horaz    als    Freund    der    Natur    nach    seinen 
Gedichten.     Landskron,  1895-96. 

Hendrickson,  G.  L.     Are  the  Letters  of  Horace  Satires  ?     A. 
J.  P.     xviii  (1897),  p.  313  flP. 

Reisackcr,  A.  J.  Horaz  in  seinem  Verhaltniss  zu  Lucrez  und 
in  seiner  Kulturgeschichtlichen  Bedeutung.     Breslau,  1873. 

Tolkiehn,  J.     Homer  und  die  romische  Poesie.     Leipzig,  1900. 

Waltz,  A.  Des  Variations  de  la  Langue  et  de  la  M^trique 
d'Horace  dans  ses  Diflferents  Ouvrages.     Paris,  1881. 

1  Nothing  can  be  cited  of  direct  bearing  upon  the  subject  except  a  few  pages  in 
the  article  of  Cartault.  In  the  subjoined  treatises,  however,  several  related 
themes  are  discussed. 


LIFE. 

Philip  Howard  Edwards  was  born  in  Hancock,  Maryland, 
February  23,  1878.  His  preliminary  education  was  received  in 
the  public  schools  of  Martinsburg,  W.  Va.,  and  of  Baltimore 
City.  After  spending  two  years  in  the  Baltimore  City  College, 
he  matriculated  at  St.  John's  College,  Annapolis,  in  1894,  where 
he  was  graduated  with  the  degree  of  B.  A.  in  1898  and  of  M.  A. 
in  1901. 

For  one  year  he  was  engaged  in  teaching  Latin  and  German 
at  the  latter  institution.  In  the  fall  of  1899  he  began  graduate 
study  at  Johns  Hopkins  University,  choosing  Latin  as  his  prin- 
cipal and  Greek  and  Sanskrit  as  his  subordinate  subjects.  He 
was  appointed  University  Scholar  in  1900,  and  Fellow  in  Latin 
for  the  years  1901-1903. 

He  has  attended  the  lectures  of  Professors  K.  F.  Smith, 
Gildersleeve,  Bloomfield,  Wilson,  Miller,  and  Dr.  Sutphen,  to  all 
of  whom  he  would  make  grateful  acknowledgment,  especially  to 
Professor  Kirby  F.  Smith,  who  by  his  advice  and  encouragement, 
and  the  inspiration  of  his  instruction  and  personality,  has  imposed 
a  lasting  sense  of  gratitude. 


LTJI;'' 


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